III part Exhibition worldwide 2013

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DIOGEN pro culture magazine presents you / DIOGEN pro kultura magazin vam predstavlja
Exhibitions worldwide / Izložbe širom svijeta
2013.

22.12.2013.

13.12.2013.
Photography, Film & Video
Diane Rosenstein Fine Art, Los Angeles
Yvon Lambert, Paris
Yancey Richardson, New York
Art : Concept, Paris

Diane Rosenstein Fine Art, Los Angeles

Karin Apollonia Müller "Citylights IV," 2013 Courtesy of the artist and Diane Rosenstein Fine Art, Los Angeles

KARIN APOLLONIA MÜLLER
FAR OUT

December 14, 2013 - January 18, 2014
Opening: Saturday, December 14, 2013, 6:00 - 8:00 pm

Diane Rosenstein Fine Art is pleased to announce FAR OUT, a solo exhibition of photographs by Karin Apollonia Müller. FAR OUT opens Saturday, December 14th, with an artist's reception from 6:00 pm - 8:00 pm. This is Ms. Müller's first exhibition with the gallery and her first in Los Angeles since 2007.

Karin Apollonia Müller: FAR OUT will present photographs that pull focus on human life from the reaches of outer space. The German-born artist alters raw data from NASA/JPL and creates three series of abstract images: Citylights, Worldlights, and Starlights. Here, Müller investigates our world from an ever-distant vantage point. Using a telescope as her lens, she positions herself between the earth and the stars and shifts her gaze upwards. Her dynamic skyscapes replace so-called "empirical" representations of the universe with the artist's vision of an ideal world.

Ms. Müller has photographed landscapes, mostly in Los Angeles and its peripheral environment since 1996. She uses photography to investigate the play between nature and cultivated spaces: how each tries to control the other. Her images are filled with the humor and sadness of chance juxtaposition, as well as the failure of the built environment to comply with the human imperative to order. Her interest centers on the human struggle to fit into an urban and natural landscape.

She works in series, notably the acclaimed Angels in Fall (2001); followed by On Edge (2007) in which she emphasizes nature's overwhelming power. Timbercove (2009) marked the artist's progressive remove from city life into the refuge of the remote. Recently, Gate (2011) presented images of the ethereal passageways between the material and the immaterial worlds.

For this new exhibition, FAR OUT (2013), Müller's photographic journey into a mystical wilderness culminates with the inevitable surrender: of the camera, of traditional notions of perspective, and the established boundary between the viewer and perceived object.

Diane Rosenstein Fine Art
831 North Highland Avenue
Los Angeles, CA 90038
T: +1.323.397.9225

Diane Rosenstein Fine Art

Yancey Richardson, New York

Hellen van Meene Untitled #392, 2012 From the series Dogs and Girls. 16 x 16 inches, C-Print, Edition of 10 Courtesy of the artist and Yancey Richardson, New York

HELLEN VAN MEENE
THE YEARS SHALL RUN LIKE RABBITS

November 8 - December 21, 2013

Yancey Richardson is pleased to present The years shall run like rabbits, the fourth solo exhibition at the gallery by Dutch artist Hellen van Meene. Best known for her portraits of young girls in various stages of adolescence, van Meene's photographs are characterized by their exquisite use of light, formal elegance and palpable psychological tension. Recently, the artist's portraiture projects have explored the use of animals as subject, whilst retaining the signature style and formalism of previous work.

In The years shall run like rabbits, van Meene presents a new series of portraits, often juxtaposing girls and dogs within the same frame, shifting the loci of the compositions to the spatial and psychic relationship between subjects. Not only does the combination of dog and girl evoke well-known motifs from art history - such as Velasquez's Las Meninas or Gainsborough's Cottage Girl with Dog and Pitcher - it also plays with the dialectics of familiarity and distance, protection and weakness and the boundaries between human and animal.

The title of the exhibition refers to a lyric from W.H. Auden's poem, As I Walked Out One Evening, an elegiac ballad lamenting the inescapable passage of time: The years shall run like rabbits / For in my arms I hold / The Flower of the Ages, / And the first love of the world. Fittingly, girls from all stages of adolescent and post-pubescent maturity are represented here, and the portraits hint at a deeper psychological weight emerging in van Meene's older subjects. Throughout the series, girls are often presented alone, seated or leaning on a single chair against an ecru toned wall. Van Meene's younger subjects often engage the camera directly, displaying all of the hopes and confusions of youth. The artist's older subjects are knowingly more guarded in their gestural vernacular, often facing the camera while eschewing its directness, a complexity of mercurial energy teeming just below the surface.

Born in Alkmaar, The Netherlands in 1972, Hellen van Meene lives and works in Heiloo, The Netherlands. Her work has been exhibited internationally and is held in the collections of major museums worldwide including the Guggenheim Museum, New York, the Stedelijk Museum, Amsterdam, the Victoria & Albert Museum, London, the Art Institute of Chicago, the Brooklyn Museum, MoCA Los Angeles, and the San Francisco Museum of Modern Art. A retrospective of van Meene's work will be on display at The Hague Museum of Photography, Spring 2015. She is the subject of four artist monographs, including Hellen van Meene: Japan Series (The Museum of Contemporary Photography, Chicago and De Hallen, Haarlem, the Netherlands, 2002), Hellen van Meene: Portraits (Aperture, 2004), Hellen van Meene: New Work (Schirmer/Mosel, 2006), and Hellen van Meene: tout va disparaî tre (Schirmer/Mosel, 2009).

YANCEY RICHARDSON
525 West 22nd Street
New York, NY 10011
T: 1 646-230-9610

Yancey Richardson

Announcement for 1.1.2014.

Yvon Lambert, Paris

Andres Serrano Série Cuba - Picture of Fidel, 2012 Courtesy of the artist and Galerie Yvon lambert, Paris

ANDRES SERRANO
Cuba

28 November 2013 - 16 January 2014

Yvon Lambert is pleased to announce the 9th exhibition dedicated to Andres Serrano from the 28th of November 2013 until the 16th of January 2014. For this new exhibition, the photographer will present about twenty pictures coming from his new photo serie «Cuba».

This serie of photographs, by the acclaimed American photographer, born in 1950 in New York, began in May 2012. It was the first time that he went to the country where his mother grew up (she was not born there but spent her childhood and youth in Cuba). He consequently forged a complex relation with Cuban culture: Spanish is therefore his mother tongue, and if he has always been surrounded by these influences - whether it is the language or state of mind - he still had a lack of intimate knowledge of the country, its political state or its history.

It is, consequently, without any forged prejudice or ideas that he accepted the invitation of the Havana Biennale to discover Cuba in order to make an important work in situ.

The living room of a private house is quickly turned into a photo studio and thanks to his local assistants, Serrano is able to take portraits of intellectuals, musicians, artists, writers but also unknown persons that he met through discovering the city. Like in his famous portrait serie ( Nomads,America or The Clan), the sitter is often depicting as a representant of a social group, monumentalized against a blank background, in front of the camera which captures the shadows around his face and the different textures and bright colors of his clothing.

Yet, he goes outside to meet residents and to take pictures of the city intimacy : colonial indoors houses that reminds the magnifience of past time, residents in their routine day lives in arrangement that falls into the classic tradiction of genre scenes, or still life reworked...

However, soon enough, the photographer lacks time and extends his trip of a month with the firm attention of coming back. What he does six week later under the form of a ten days road trip through the country. «I wanted to conquer, discover and embrace Cuba. She became my home, my studio, my family, my Muse. She inspired me and called out to me in ways I could not have imagined. I waited a lifetime to see Cuba and now I wanted to see all of her.»

The photo serie presented for the occasion of the exhibition in Paris is a selection among hundreds of pictures, which gives an overview of the discovery and appreciation of a country that appears to us as odd familiarity. The Cuba serie, therefore, develops a true portrait of the country, not like a photographer who documents a subject, but as an artist who uses photography as a way to recreate his own reality.

YVON LAMBERT PARIS
108, Rue Vieille du Temple
75003 Paris
France
T: +33 (0)1 42 7109 33

Yvon Lambert, Paris

Art : Concept, Paris

Die Strasse, Ulla von Brandenburg, Art : Concept, Paris, 30.11.13-25.01.14 Courtesy of the Artist & Art : Concept, Paris Photo by Fabrice Gousset

ULLA VON BRANDENBURG
"Die Straße"

30 November 2013 - 25 January 2014

"Would you tell me, please, which way I ought to go from here?"
"That depends a good deal on where you want to get to," said the Cat.
"I don't much care where -" said Alice.
"Then it doesn't matter which way you go," said the Cat.
"- so long as I get somewhere," Alice added as an explanation.
"Oh, you're sure to do that," said the Cat, "if you only walk long enough."
Lewis Carroll, Alice in Wonderland, éd.Gallimard, 1994, p.105

For her third solo show at Art: Concept, Ulla von Brandenburg presents Die Straße, her latest film, which she integrates in a maze-like fabric installation that metamorphoses the gallery's space. Just like the character shown inside the film; the spectator will be forced to evolve along a path delimited by theatre props. Indoors, this path becomes a route outlined by fabric panels. As it's often the case with Ulla von Brandenburg's work: the installation has a lot of importance because it allows the anchorage in space of the piece, developing a dialogue with the site's specificity and foreshadowing the film's contents.

While most of the artist's previous films (from 8 to Singspiel, Chorspiel and Spiegellied 1 and 2) situate the action in real or symbolized indoor settings, Die Straße has been shot outside and its story happens in the street. Ulla von Brandenburg often uses the concept of the house as a protective case to evoke family themes, as well as subjects related to human relations. Whereas in the street the characters that come across each other may be simply acquainted with each other without being related. The street is an open space and the things that happen there are different from the things that happen in the private sphere. In Die Straße, a visitor arrives on a street and becomes witness of a series of events without ever becoming part of things. Recalling the mechanism of Alice in Wonderland, in which the protagonist maintains her position as observer and keeps on trying to understand the functioning of a world which is alien, Ulla's main character becomes a being apart, someone on the margins of the world that he is discovering and therefore more and more suspect in the eyes of the other characters. During his wandering along the street he becomes us : the spectators, strangers from another world and from other times. We have landed here, incapable of understanding the rites and actions of the men and women who surround us. Just like the young Alice, the few times that the actor tries to interact and intervene, he's forced to acknowledge the clash between two worlds as well as the incomprehension of the other characters. He would like to help, but should he be allowed to intervene? Won't he destabilize the frail balance of existing rituals and events?

The question of timelessness is to be added to the distancing notion. Timelessness as one of the subjects often dealt with by Ulla von Brandenburg. She explains it like this: "When something is impossible to define on a time level, the tendency is to automatically relate it to the past. But who can assure us that maybe it is not rather something of the future? It is important for me to situate the action out of time and play with different epochs. My films refer more to historical perspectives than to the past as such." In her films and installations, Ulla Von Brandenburg creates a distance between the "here and now" level and a relation of temporality through space. This distancing effect functions as a sort of void that can be filled with images or objects to be found both in her films and in the exhibition space.

Objects play a preponderant role in the theatrical art of Ulla von Brandenburg. They can at once feature in her films and be physically present in her artistic production. In her films, objects proliferate in space and ceaselessly keep exceeding the limits of the "accessory" status or that of simple props. In her watercolors and cutouts, objects become many references to the different epochs, rituals and symbols that have constituted our societies. Finally, as individuals, we derive from these objects and the many layers of semantic references that they inspire, and every moment we decide to construct ourselves around them or not. For instance the mirror, taken as a symbol of knowledge and awareness, shows and reflects the different states of reality that surround us: Awareness, reflection, and conscience. Without necessarily tackling a lacanian analysis of things, in which the mirror would promote the awareness of the "I" and of one's own development as individual, Ulla von Brandenburg, by using that object, certainly wishes to make reference to the individual and his place in society. Who does what? Who makes use of whom? Which price do we have to pay to occupy a place in the pyramid of power?
To all these objects, wandering characters and out-of-time protagonists the artists adds words and sometimes songs, always in German. Her texts remind us of the automatic writings of Surrealists and are always written all in one session and without pause. They are always direct statements comprising a few plays on words and the odd reference to a song... This discourse, rather a spontaneous association of ideas than a narrative, allows the spectator's brain to automatically create connections and to attribute emotional significance to the work.

Through theatre, staging, artifacts, rituals, light and shadow, as well as through popular traditions, Ulla von Brandenburg's work invites the spectator to look and consider strange foreign worlds, but also to ask himself a few fundamental questions on the place he occupies and on the role he could be playing...

A.B
Traduction Frieda Schumann

Art : Concept
13 rue des Arquebusiers
75003 Paris
France
T: +33 1 53 60 90 30

Art : Concept

05.12.2013.
Izložba autora DIOGEN pro art magazina...Exhibion of the author of DIOGEN pro art magazine
Stane Jagodich, Slovenia
Odvodi fotografije (1969-1980)
Otvoritev: torek, 10. december ob 19. uri
Photon – Center za sodobno fotografijo
Trg prekomorskih brigad 1, Ljubljana

04.12.2013.
Painting & Drawing
Galerie Stefan Röpke, Cologne
Gerhardsen Gerner, Oslo
Cristina Guerra Contemporary Art, Lisbon

Galerie Stefan Röpke, Cologne

Max Neumann untitled / ohne Titel, Juli 2012 oil, acrylic on canvas / öl, Acryl auf Leinwand 60 x 79 inches / 150 x 200 cm

MAX NEUMANN

30 November, 2013 - 1 February, 2014

Galerie Stefan Röpke is pleased to present a solo-exhibition of new works by Max Neumann, on view November 30, 2013 - February 1, 2014.

Max Neumann was born in Saarbrücken in 1949 and is currently living and working in Berlin. His works are in numerous public and private collections in Germany and worldwide, including the Neue Nationalgalerie in Berlin, the Museum Folkwang in Essen, the Museo de Bellas Artes in Oviedo / Spain, the Hamburger Kunsthalle, the Deutsche Bundestag Collection and the Deutsche Bank Collection.

Opening Preview: November 29, 2013, 6:00pm - 9:00pm. The artist will be present.
Exhibit: November 30, 2013 - February 1, 2014.

For more information and images of works presented at the exhibition, please feel free to contact the gallery.

Galerie Stefan Röpke
St. Apern-Strasse 17-21
50667 Cologne
Germany
T: +49 022125 55 59

Galerie Stefan Röpke

Cristina Guerra Contemporary Art, Lisbon

Tatjana Doll Courtesy of Cristina Guerra Contemporary Art, Lisbon

TATJANA DOLL
RECESSION II

22 November 2013 - 8 January 2014

Tatjana Doll (Burgsteinfurt, 1970) presents "Recession II", her second exhibition at Cristina Guerra Contemporary Art, in Lisbon.

The title chosen for this show implies a sequential relation between the work that was first presented at the gallery ("Recession", in 2008) and the paintings and drawings composing this exhibition. Concurrently, the title - the use of words - represents a line of thought and reflection within the artist's body of work, in which the titles are an element present in the works that determines their relation with objects, everyday references, or geometric patterns - often graphically striking - that expand, to the viewer, their diverse field of observation.

One of the artworks, titled "PICT_Glasurit", is exemplary of the relational structure built by Tatjana Doll. Glasurit is a particular brand of industrial enamel paint that the artist uses in her paintings. The selfreferential relation indicates an affinity for materials - such as spray paint or acrylic - that allow the body to have greater technical versatility when painting. On the other hand, as a semantic tool, language opens up a field of possibilities in the prolific network of meanings occurring between the image and the set of words that compose its title, as it happens in the case of "PICT_Seeds" and "TECHNICS_Nintendo." Within this complementary relation between word and image, the recent works Tatjana Doll now exhibits traverse an opposite path to the one suggested by her previous show in the gallery. The images represented by the paintings are subjected to a transmutation, sometimes almost spectral, as it happens with the painting "DUMMY_Angelina Jolie", and in other cases fragmented and stripped of their resemblance to the objects or characters they refer to - both in what concerns their scale and proportion, and in their apparent proximity to the real model, or its context.

As it is visible in the drawings, the titles suggest a numeric and temporal seriality, and the word is integral to the work, incorporating seemingly decontextualized references and self-referential memories. "Recession II" is a provocative exhibition in the sense that it makes us closer to painting (to its haptic dimension) as the artist reflects on the social universe of the images we are permanently faced with (symbols, signs, typography). Tatjana Doll proposes a confrontation between what is essential in the immediate acknowledgment of a referent and her active capability - as an artist - to distill and transform the symbols of a collective imaginary into fragmented, quasi abstract elements. Within the conceptual framework of this exhibition, painting is a thought process through which pictorial objects are reclaimed by time and action and become autonomous within strong and expressive chromatic compositions, never losing sight of an analytical intention that demands our physical and emotional presence.
- João Silvério

TATJANA DOLL
Her oversized enamel canvasses of everyday objects put Tatjana Doll's name on the map: Cars, trains, containers, pictograms, babushkas... And yet, the pictures do not show reality. Instead they retain their independence. This is also true of her fine drawings - often done in pencil - that make an interesting contrast to the massive paintings. Although the viewer is immediately reminded of commercial photographs typically seen in fashion magazines, they are disembedded from their "instrumentalization," i.e. the sale of goods. Like the objects in her paintings, Tatjana Doll lends her figures an independent existence. By transforming them into the drawing medium, on the one hand Tatjana Doll reveals the figures' desires and on the other hand she shows precisely what they can trigger in the spectator. At the same time, she exhibits a part of herself, which is cleverly hidden behind the drawn element.
Tatjana Doll was born in 1970 in Burgsteinfurt. In 1998, she graduated from Düsseldorf's Kunstakademie. After working as Visiting Professor for Painting at the Kunsthochschule Weißensee, Berlin (2005-2006), she was made professor at the Staatliche Akademie der Bildenden Künste Karlsruhe in 2009-2010. Tatjana Doll lives and works in Berlin.

Cristina Guerra Contemporary Art
Rua Santo António à Estrela, 33
1350-291 Lisbon
Portugal
T: 351 213 959 559

Cristina Guerra Contemporary Art

Gerhardsen Gerner, Oslo

Jan Christensen Untitled (2013) Installation; canvases and wall paintings, acrylic paint. Various dimensions (6 canvases, each 150 x 130 cm; 5 wall paintings 550 x 470 cm, 550 x 470 cm, 550 x 527 cm, 550 x 527 cm and 550 x 710 cm) Courtesy Gerhardsen Gerner, Oslo/Berlin

JAN CHRISTENSEN

November 14 - December 20, 2013

Jan Christensen (born 1977) has been showing at Gerhardsen Gerner Berlin since 2002. It is with great pleasure that we announce his first solo exhibition with Gerhardsen Gerner Oslo although Marina Gerner-Mathisen has had three solo exhibitions with Jan Christensen at former MGM gallery already.

Since the beginning of his career, Jan Christensen has taken an experimental approach to artistic practice, with a wide range of references, whether in art, design, architecture, music and society in general. His work ranges from large-scale installations and wall paintings to paintings on canvas, sculpture, sound installations, photography, video and light art. In his artistic practice, Christensen responds not only to discourses in art, but also to the broader field of creative media, and aims to discuss and reveal the different processes involved and the development of his works. The versatility of his practice has also led Christensen to various activities beyond the limited possibilities of gallery spaces and museums. Thus, alongside his extraordinary compositions intended for exhibition, he has also realized a variety of projects in the public sphere. His projects for public space are often characterized by ideas that refer to specific sites, producing authentic works of art, which have contributed to his expanded artistic practice in recent years.

For the exhibition in Oslo, Jan Christensen conceives an experimental body of painting, which reflects his earlier approaches to painting within the gallery space. Again, Christensen places a particular focus on the creative process itself. On one hand, he responds to preconditions of the gallery architecture, and on the other, he takes a playful approach to his own work. By undertaking a painterly conquest of the gallery space he produces a unique spatial composition that takes the viewer into a shimmering scenario that seems to move beyond preconceived ideas.

Jan Christensen, born in Copenhagen, lives and works in Berlin and Oslo. His work has been acquired by institutions such as the Astrup Fearnley Museum, Oslo and the National Museum of Art, Norway. Many of his large-scale projects can be found in private collections, corporate enterprises and public collections. Recent exhibitions include the re-opening of the Astrup Fearnley Museum at Tjuvholmen in Oslo (To Be with Art is All We Ask), Galleri F15 (with Anders Fjøsne), Jeløya, public art projects with Marius Dahl in Trondheim, Oslo, Skien, Porsgrunn, Drammen and Hamar, Momentum 7, Moss, Høstutstillingen (with Are Blytt), Kunstnernes Hus, Oslo and the current exhibition Proto_Light at Artclub 1563 in Seoul which was curated by Lee Jiyoon and Kim Sung Won. His forthcoming solo-exhibition in 2014 at Viborg Kunsthal (Denmark) is curated by Helene Nyborg Bay. He is also involved with scenography for an upcoming play by Mona Banterla Grenna, Nelly Winterhalder and øystein U. Brager, in addition to ongoing work as an adviser to the committee on acquisitions of public art for KORO (Public Art Norway). He is a member of the committee of the Sparebankstiftelsen DNB art award, which will be announced November 20 for the award exhibition at Oslo Kunstforening. Successively, November 25, he will install another interactive audio installation in collaboration with Anders Fjøsne for the project "One Night Only" at Kunstnernes Hus.

Gerhardsen Gerner
Fru Kroghs brygge 4
Tjuvholmen
N-0252 Oslo
Norway
T: +47 219 101 91

Gerhardsen Gerner

1.12.2013.
GALERIE BERNARD BOUCHE presents PETER JOSEPH
Galerie Bernard Bouche, Paris
November 9 - December 20, 2013

The gallery is proud to showcase the recent works of Peter Joseph on view until 20 of December.

This British artist's paintings have not been presented in Paris for the past twenty years. The show will include six large-scale pieces as well as a series of smaller works on canvas, underlining the remarkable freshness and sense of vitality evident in these new paintings.

Famous for his two-tone works, the nuances of which were the product of much careful contemplation, Peter Joseph's more recent pieces are characterized by a compositional improvisation and are the result of experience, his touch both dynamic and calm, leaving several sections unpainted which evoke a new space and new emotion.

"Painting is not just color. I try to capture light and air on the canvas, darkness and light. I try to paint atmosphere, paint light itself."

Peter Joseph's works are in many Museums and Public Collections including Tate Gallery London, Stedelijk Museum Amsterdam, Walker Art Center Minneapolis, Solomon R. Guggenheim Museum New York, Fogg Art Museum Philadelphia, Museum of Contemporary Art Chicago, Hamburger Kunsthalle, Kunsthaus Zürich, Museum fur Gegenwartskunst Zürich.

GALERIE BERNARD BOUCHE
123, RUE VIELLE DU TEMPLE
75003 PARIS
T: +33 01 42 72 60 03
E: info @ galeriebernardbouche.com
Tuesday - Saturday: 14-19pm

www.galeriebernardbouche.com

30.11.2013.
Sculpture / Installation
Galería Fúcares Madrid
i8 Gallery, Reykjavik
Galerija Gregor Podnar, Berlin
Galerie Urs Meile, Beijing

Sculpture / Installation

Jaime Pitarch "MOMENTUM", 2013 Armario manipulado 220 x 113 x 200 cm Courtesy of the artist and Galeria Fúcares Madrid

JAIME PITARCH
"Despacio / Destiempo"

From November 16th 2013 to January 18th 2014

The Fúcares Gallery in Madrid is pleased to present the third solo exhibition by Jaime Pitarch(Barcelona, 1963).

Despacio/Destiempo ["Slowly/Out of sync"] brings together a number of pieces made in 2012, although one of them, Momentum, is part of an eponymous series that the artist has been creating since 1997. The elements shown in the exhibition make up a sort of symbolic archaeology about what, in statistical terms, we refer to as social cost. Retrieved from the streets, from the Internet or from the world of museums, they serve as tragicomic testimonies of our processes of adaptation in a capitalistic environment.

The following pieces are included in the exhibition:

Momentum (2012)
Bits and pieces from a wardrobe rescued from the street and reassembled so that they can be contained in its only drawer, while the wardrobe itself remains precariously upright. A metaphor for human beings and their struggle to remain standing, using everything that they were originally given to build their personas.
If the framework in which the pieces in this series is of an ontological nature, the location of its raw materials (discarded furniture gathered from the streets) draws a map of the districts in the cities where the artist has lived and that have undergone a process of gentrification which politicises it (so here the root polis acquires makes perfect sense). The work therefore tackles the question of adaptation to the environment, focussing on the human flotsam and jetsam that this process entails.
Hence the use of remains of materials produced and discarded by man as a metaphor for man himself, and the manipulation of objects that eventually refer back to themselves but are unable to go beyond themselves. The result leads to an isolated man, removed from the inertia of his context.

Personal quest (2012)
A list was prepared starting from what YouTube offers you when typing the letters of the alphabet in its search window.
From A to Z, the window that automatically opens when entering each of the letters of the alphabet has been taken out of context and replicated. This floating window appears as if printed on a sheet of white, A4 photographic paper - in other words, a standardised format.
The search for oneself, derived from a spiritual existential loss is here substituted by a shared ritual. The suggestions that appear when entering each letter are the result of millions of personal searches on the Web at particular coordinates of time and geography. They reflect our own standardised conduct, reduce us to statistical data, and dilute our very individuality: there is nothing personal left in this search, nor does anything transcendental appear in its result.

Projector (2012)
At the back of the gallery, a slide projector projects texts on the wall that, slide after slide, deconstruct the rationale of their own presence in the gallery room. The meaning of the text shifts little by little from a technical description of the elements involved in the mise-en-scène, via the consequences in economic terms and of credibility that a potential acquisition by a knowledgeable viewer would have, finally suggesting the existence of certain mechanisms, which, being similar to those used for steering people in disciplinary societies, are subliminally activated in the institutional sphere of art. The projector itself, an apparently inoffensive element, can thus be one of them.

Galería FÚCARES Madrid
Calle Doctor Fourquet 28
28012 Madrid
Spain
T: +34 91 319 74 02

Galería FÚCARES

Galerija Gregor Podnar, Berlin

B. Wurtz Bunch, 1994 221 x 107 x 107 cm Courtesy the artist and Galerija Gregor Podnar, Berlin / Ljubljana Photo: Marcus Schneider

B. WURTZ

November 2, 2013 - January 11, 2014

Galerija Gregor Podnar is proud to announce the first solo exhibition of the US, New York-based artistB. Wurtz.

B. Wurtz will present a selection of recent and new works in the exhibition. For four decades, Wurtz has been creating sculptures that use every day materials to explore and deflate issues of the heroic, monumentality and the sublime, among other things. His is a sculpture that humbly yet firmly seeks to dismantle the conventions of his plastic discipline. The selection of his materials is governed by the three basic necessities of life: food, clothing and shelter. Although his work might initially seem to be improvised from the random flotsam and jetsam of daily life, his carefully wrought sculptures invariably feature elements from these domains. Created with great attention to the palette of his materials, Wurtz brings an almost pop painterly regard to the composition of his objects. He is no less attentive to the supposed fragility of his material, which he treats with a disarming fastidiousness. Occasionally evocative of mandalas or reliquaries, his production can possess a religious quality, which is nevertheless challenged by the playfulness of the work. Nothing is ever straightforward in B. Wurtz' art. For while he might confer a certain dignity upon the refuse of our most essential needs, it is never that simple. Any ennobling that takes place in what Wurtz does is not without a sense of the absurd and an impulse to deflate, potentially reminding us that even our most basic needs, not to mention art - and especially garbage - should never be taken too seriously. (Chris Sharp)

B. Wurtz was born in Pasadena, California in 1948 and lives in New York City. He studied at the University of California at Berkeley from 1970 and California Institute of the Arts, Valencia from 1980. Recent exhibitions include his solo show at Kate MacGarry, London, 'Café Horizon (You slowly look around now - hold it)', Arthur Boskamp-Stiftung, Hohenlockstedt, Germany, 'Prague Biennale', 'Recent Works', Metro Pictures, New York, all in 2013, 'Bulletin Boards, Venus Over Manhattan, New York in 2012, B. Wurtz & Co., Richard Telles Gallery, Los Angeles in 2012 and Moment - Ynglingagatan 1, Moderna Museet, Stockholm in 2011. In 2012, he was awarded the Pollock-Krasner Foundation grant.

Galerija Gregor Podnar
Lindenstrasse 35
D-10969 Berlin
Germany
T: +49 30 259 346 51

Galerija Gregor Podnar

i8 Gallery, Reykjavik

Alicja Kwade In-fluence, 2013 Installation view i8 Gallery, Reykjavik, 2013

ALICJA KWADE
Solid Stars and Other Conditions

Until 14 December 2013

i8 is pleased to present, Alicja Kwade's Solid Stars and Other Conditions, the artist's first exhibition with the gallery. The show will feature new sculptures and installations and will run from October 31st to December 14th.

Alicja Kwade has received much recognition in recent years for her sculptures, installations, and videos. Oscillating between the familiar and the fictional, she combines ready-mades and skilful craftsmanship in sophisticated installations that provoke, amuse, and surprise. Her work possesses formal sculptural qualities with roots in minimalism bordering the surreal or the uncanny.

Kwade is interested in scientific phenomena and musings, manipulating objects, processes, and concepts in ways that seek to challenge, if not defy, the laws of physics. She looks for simple ways to arrive at an understanding of reality in which established conveniences and materials are re-arranged and re-valued. Kwade questions cultural hierarchies and agreements by challenging objects' functional identities and by scrutinising the inherent quality of materials and conditions.

Her world is one in which nothing can be taken for granted.

Stellar Day, 2013. A half-ton boulder sits on the gallery floor. At a first glance it looks like an ordinary stone, however, careful observation reveals that the stone is rotating - very slowly, in a clock-wise motion. Moving against the direction of the earth's rotation, the stone completes one full turn in 23 hours, 56 minutes and 4,099 seconds, the equivalent of one day measured in "Sidereal time" (a time scale based on the Earth's rate of rotation measured relative to the fixed stars). The boulder can thus be seen as the only 'still' thing on Earth, given an almost extraterrestrial quality, located on Earth but not subject to the planet's physical laws.

In-fluence, 2013. Mounted on the wall is a 1930's institutional wall clock with a nail next to it in on the lower left hand side. The clock's second hand speeds up during a 15 second period of each minute when it passes the nail as if affected by it in a peculiar way. Despite this interruption each minute remains "correct". Many of Kwade's works deal with the phenomenon of time and clocks as entities hold an ongoing fascination for her as the ultimate fusion of the temporal and the physical.

The Heavy Weight of Light, 2012. Lengths of various industrial materials - bronze, copper, and wood - together with sheets of mirror and stainless steel are subtly arranged side by side. Because the individual elements of the installation are bent ninety-degrees along the wall and floor, usual material properties are transformed; otherwise hard substances becoming soft or liquid and appearing to slide gracefully down the wall onto the floor.

Alicja Kwade was born in 1979 in Katowice, Poland and currently lives and works in Berlin. She studied at Universität der Bildenden Kunst, UdK, in Berlin. Solo exhibitions include: Kunstmuseen Krefeld, Haus Esters, Germany (2013); Skulpturenpark Köln, Cologne (2013); Kunsthal 44 Møen, Denmark (2012); ZKM Karlsruhe, Germany (2011); Oldenburger Kunstverein, Germany (2011); Kestner Gesellschaft, Hanover, Germany (2010); Westfälischer Kunstverein, Münster, Germany (2010); Group exhibitions include: Palazzo Strozzi Fondazione, Florence, Italy (2013); Museum of Contemporary Art Detroit (2013); Palais de Tokyo, Paris (2012); K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany (2012, 2010)

Alicja Kwade received the Robert Jacobsen Prize in 2010 and the Piepenbrock Prize for Sculpture in 2008.

i8 Gallery
Tryggvagata 16
Reykjavik
Iceland
T: +354 551 36

i8 Gallery

Galerie Urs Meile, Beijing

Not Vital "Piz Nair" 2011 coal 144 x 63 x 72 cm Courtesy the artist and Galerie Urs Meile, Beijing-Lucerne

NOT VITAL
guarda 看

November 16, 2013 - January 19, 2014

Galerie Urs Meile is pleased to present guarda 看, the second solo show of Swiss artist Not Vital(*1948) at their Beijing gallery.
Set across all four of the gallery's exhibition spaces, Vital has conceived a multi-layered landscape field, a hybrid of manmade and natural materials that examines the intersection between these two polarities. This constructed environment evokes both the outer and inner human self - simultaneously presenting an opportunity of internal retreat and yet confounding that hope with stark reminders of urban modernity.
Facing the viewer across the largest of the gallery spaces, a series of blackened mountains, hewn from coal, dominate the room. Towering over the viewer at almost 2 metres in height, their imposing density and bulk demands confrontation and contemplation. These are 'portraits' of a particular mountain, Piz Nair (2013), from Vital's native Engadin valley in Switzerland. Vital has spent much of his life in perpetual intercontinental travel, yet for periods of each year he returns to his home village of Sent, Switzerland. A lifetime of gazing at the surrounding mountains has permanently imprinted their impressions onto his visual memory. Yet now Beijing is also a home and workplace for Vital, and his choice of material also speaks of this adopted base. For not only is China the world's largest producer of coal, but the material stands as representative of arduous labour and the progress of industry - qualities that Vital greatly admires. These rough, dense forms are presented on gleaming steel bases, underlining the works as a finished product, an emblem of polished modernity. Yet paradoxically, mountains also possess potent spiritual symbolism - the Sacred Mountains of China are traditionally known as sites of pilgrimage for emperors. These forms are thus laden with powerful meanings beyond their physical substance and being. Both in scale and voice, a grouping of Vital's Dali stone marble works occupies a significantly quieter presence, mounted in an installation across both the walls and floor of the second gallery space. Upon discovering the extraordinary qualities of China's renowned Dali stone in 2012, Vital began to create works from sections cut from the marble, presenting each on individually sculpted plaster bases that vacillate between symmetry and asymmetry, yet create a cohesively harmonious unit. Each delicately veined marble surface presents a lyrical mass of undulating linear forms that sketch an amalgam of natural formations, recalling the formal elegance of traditional Chinese ink drawings. These abstracted landscape fields are some of Vital's most subtle to date, being predominantly white in appearance, and their titles, such as Glacier (2013) and Ice (2013), reflect this. Again, Vital recalls his native Engadin valley, where for many months of the year the mountaintops remain shrouded in ice and snow, resembling the smooth, cold faces of the marble stones.

The sole figurative presence throughout the exhibition is that of a commanding, outsized portrait head, isolated and planted directly onto the floor. Like the landscapes, the choice of material employed by the artist refutes traditional representational approaches within this genre. Despite the soft, lustrous curves of the egg-like form, the hard, metallic finish in which the depiction is rendered creates a distinct alienation from those that encounter it. The facial features of this impassive witness are indicated but not explicitly explored, both attracting and repelling any potential encounter.

A monumental staircase, formed from stainless steel, is a striking focus of the exhibition, occupying a whole exhibition space. Rising from floor to ceiling, the suggested ascendant motion recalls rites and rituals. Indeed, the staircase also echoes the staircases that accompany Vital's House to Watch the Sunset (2005), built in Agadez, Niger. On this structure, each of the staircases on the three levels of the building lead to a single room in which one contemplates the magnificent setting sun. Yet somewhat frustratingly, in this instance the staircase leads to no such immediate visual reward, but is instead emblematic of an implied journey. Indeed, throughout these landscapes that Vital creates, there is no figure represented within them; instead, the viewer is the implied participant. Perhaps the artist is suggesting that it is the imagined journey and experience, and not the explicitly described one that can be the most potent.

This meditative space extends to the gallery's outer courtyard, where Vital presents a new body of sculptures entitled Ŏu (2013). Each stainless steel sculpture depicts a simple cross-section of interlaid and overlapping lotus roots (rhizomes). Being indigenous to China, the lotus plant is indeed a ubiquitous sight across the country, yet it stands apart as being richly imbued with symbolic meaning, religious and otherwise. In Buddhism, the lotus connotes purity of the heart and mind, being one of the Eight Auspicious Symbols of Buddhism. The structure of the lotus, rooted in the earth at its base and rising to the peak with its pristine white flower, is held as a symbolic representation of the philosophical pathway from base materialism to enlightenment.

Guarda, meaning in Romansch 'to look at', invites one to spend time engaged in prolonged encounter with the field that Vital presents here, quiet and yet immensely striking. Both Eastern and Western art historical canons have traditionally held the representation of landscapes as not simply indicative of a straightforward depiction, but also as the symbolic embodiment of states of mind, both of the individual artist and as widely emblematic of mankind. A landscape represents a literal and metaphysical breathing space, an opportunity for contemplation and meditation. This delicately orchestrated body of sculptural work offers a multiplicity of 'journeys' for the viewers' exploration, should they choose to become immersed in these potential pathways.
Text by Rukhsana Jahangir

GALERIE URS MEILE
no. 104, Caochangdi
Chaoyang district
100015 Beijing, China
T: +86 (0) 10 643 333 93
Galerie Urs Meile, Beijing-Lucerne

23.11.2013.
Painting & Drawing
David Kordansky Gallery, Los Angeles
Freight + Volume, New York
Chambers Fine Art, New York
Galerie Barbara Thumm, Berlin

David Kordansky Gallery, Los Angeles

Matthew Brannon Inside Out, VII (The Proofreader), 2013 brass, linen, enamel, acrylic, offset printing on paper 90 x 73 x 1.75 inches (228.6 x 185.4 x 4.4 cm) Courtesy of the artist and David Kordansky Gallery, Los Angeles Photography: Brian Forrest

MATTHEW BRANNON
Leopard

November 16, 2013 - January 18, 2014

Leopard offers a radical reimagining of the role played by text and literary narrative in visual art. Though language and associated cultural signifiers––graphic, in both senses of the word––have long been central to Brannon's work, this exhibition puts linguistic syntax at the literal center of the equation, like genitalia. The core of the exhibition is an erotic novella, written by Brannon, entitled "Leopard." However, the novella itself, in physical form, is buried in the show and cannot be directly accessed.

The text of the book will only be present in the form of a video work on two monitors installed in the center of the gallery. Surrounding the monitors is a suite of paintings whose primary role is containment, their role as visual documents in some way secondary to their role as vessels for language. To this end, a slot has been cut into the side of each painting; inserted in the slot is a book, one copy of an edition of "Leopard" limited to the number of paintings in the show. Though viewers cannot turn its pages, they are, in effect, inside its world. The impulse to experience the narrative by reading it is subverted. It is replaced by the phenomenological experience of the objects 'on view'––paintings pregnant with language they obscure.

Brannon has literally, even sculpturally, emptied out painting, transforming it into a void to be filled. The 'unique' painting is subject to the presence of a reproduced book, a reminder that the inversion of reproduction technologies has played an important generative role in the development of Brannon's practice. The early letterpress works for which he became known were issued in editions of one, highlighting the sculptural and painterly possibilities inherent to a medium designed to disseminate text and other seemingly 'flat' information. This continuum of crossed genres (printing-painting, painting-sculpture, sculpture-video) becomes a place of fecundity as well as free-floating anxiety, one in which the physical manifestation of an artwork is always attentive to the conceptual structures that give rise to it.

This applies to the compositions that appear on the paintings as well, which are made not with brushes and oil, but via printing processes. Swooping, stuttering lines punctuated by dots of color, these compositions have been screened onto canvas chosen for its own physical and visual properties. Like Pop-revisionist takes on Twombly, or a slasher flick villain's attempt at modernist abstractions, the paintings are a sinister interior decorator's wet dream. Their beauty is insidious, and though they are indicative of Brannon's particular graphic vocabulary, it is impossible to ignore their participation in the broader formal debates specific to contemporary painting.

The video work adds the durational aspect of reading text into the space of the exhibition. On one monitor, a woman reads the "Leopard" book to herself; on another the text scrolls upwards like the credits to a film. The implication is that the viewer sees what the woman sees, but her thoughts fall outside the frame. Even here, with the act of reading mirrored back to the viewer, Brannon keeps the text itself in a fleeting, ephemeral state, and keeps it from ever being a physical thing that can be held in the hands.

However, this does not prevent the perversity and sheer strangeness of the novella from seeping into the viewer's consciousness, where it lingers as a kind of infection. The narrative is a particularly intense distillation of the fictional universe that Brannon has created over the course of his career, one that seems to intersect with our own and call attention to its anxieties and obsessions. But it also brings together an idiosyncratic array of cultural touchstones, including surrealist literature (the proto-surrealist Les Chants de Maldoror by the Comte de Lautréamont comes to mind), avant-garde film, and the theater of the absurd. Like any fiction, it is a construction, a conceptual machine that reflects, dismantles, and ultimately generates an experience of the physical world that surrounds it.

Matthew Brannon (b. 1971) has been the subject of numerous one-person exhibitions, including Department Store at Night (Five Impossible Films, I), Marino Marini Museum, Florence, Italy; A question answered with a quote, Portikus, Frankfurt, Germany; Mouse Trap, Light Switch, Museum M, Leuven, Belgium; Where We Were, Whitney Museum of American Art at Altria, New York; and Try and Be Grateful, Art Gallery of York University, Toronto. Recent group exhibitions include Brannon, Büttner, Kierulf, Kierulf, Kilpper, Bergen Kunsthall, Norway; In the Name of the Artists, Contemporary American Art from the Astrup Fearnley Museum of Modern Art, São Paulo Biennial Pavilion, Brazil; After Hours: Murals on the Bowery, Art Production Fund and the New Museum, New York; For Love Not Money, 15th Tallinn Print Triennial, KUMU Art Museum, Tallinn, Estonia; and At Home/Not at Home: Works from the Collection of Martin and Rebecca Eisenberg, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY.

David Kordansky Gallery
3143 S. La Cienega Blvd, Unit A
Los Angeles, CA 90016
T: 1 310-558-3030

David Kordansky Gallery

Chambers Fine Art, New York

Gu Wenda Central Park 2009 Watercolor on paper 22 3/4 × 30 1/4 in Courtesy of the artist and Chambers Fine Art, New York

GU WENDA
Central Park

November 15 – December 21, 2013

Chambers Fine Art is pleased to announce the opening on November 15 of Gu Wenda: Central Park.

This will be his first exhibition at the gallery and will consist of preliminary studies and documentary material for his first venture into garden design and urban planning. When first exhibited in its entirety in Shanghai in 2010, it was as part of the Shanghai Pujiang OCT 10-Year Public Art Project and was known as China Park but the change of name to Central Park not only underscores its relocation to Manhattan but also its centrality to the grand scheme of which it is the most important component.

One of China's pioneering contemporary artists since the early 1980s when he first came to prominence with his pseudo-calligraphy and mixed-media installations, Gu Wenda is well known for projects such as Forest of Stone Steles: Retranslating and Rewriting of Tang Poetry and United Nations Project, both of which were begun in 1993 and were developed over many years. Underlying Gu's varied artistic activities since the early 1980s has been what he refers to as "my greater artistic mission and its conceptual themes of east and west, of the traditional and the modern, and my modern and conceptual ideas." As familiar with western approaches to landscape garden as he is with the great gardening tradition of China, Gu has proposed the creation of "a modern eastern garden" which beyond its possible realization can serve as a model for the future planning of ecologically sound cities throughout China.

Rejecting purely picturesque effects, Gu has designed an ideal scheme in which every element has been carefully considered and is resonant with meaning. Unifying the landscape and architectural features are the Chinese concept of yin and yang and the five elements of Chinese philosophy (wood, fire, earth, metal and water). In the center and at the highest point of the entire scheme is the River Calligraphy Garden which is surrounded by a river and is interlaced with a complex network of narrow canals. Representing the yin aspect, the feminine qualities of the river separate the core complex from the lushly planted green expanse of the Green Forest Calligraphy Garden. Here the masculine character of the trees embodies the yang aspect. On the perimeter of the gardens the four Merit Monument Squares and Gates situate the gardens within a cultural and historical matrix of references.

As dense as the symbolism of every component of Central Park may seem, it needs to be remembered that his visionary scheme is a blue-print for a garden and recreation space located at the heart of a living community. As conscious as Gu is of the park's sources in calligraphy and the elite culture of China, he is equally concerned that they should merge seamlessly "into popular culture: the entertainment and leisure aspects of the public park, the theme park, and the high end and low-density residential area surrounding the park." As the users of the park grow familiar with it as their outdoor playground or living room, they will be presented with cultural and historical references in an entirely pleasurable way. Gu's proposal for Central Park, elitist in inspiration but populist in its aspirations, is visionary in its scope but based in reality.

Chambers Fine Art
522 West 19th Street
New York, NY 10011
T: 1 (212) 414-1169

Chambers Fine Art

Freight + Volume, New York

Damian Stamer Toler, 2013 oil on panel, 48 x 72 inches Courtesy of the artist and Freight + Volume, New York

DAMIAN STAMER
Sundays

November 21st - December 28th, 2013

PAINTING THE BUILDING / BUILDING THE PAINTING

Freight and Volume is pleased to present Damian Stamer's third exhibition at the gallery, Sundays. Stamer is a young artist whose latest suite of paintings is born from a neat geographic triangulation of influence and style: A European mentality aimed at the ramshackle architecture of the American South. Over the past five years or so the artist has been finding his own way through an interesting thicket of forbearers, precursors, and peers, most notably the New Leipzig School in Germany. This stretch of time has also seen a rather austere paring down on Stamer's own part, from early canvases that flirted with text, meta-self-portraiture, exploding structures, and a free-ranging palette, to these new oil-on-panel pieces, which are mostly greyscale with occasional bleats of wild color, and which tirelessly interrogate and reimagine a handful of specific locations in Stamer' home state of North Carolina.

What are those places? For the "Patrick Road" paintings, the subject is a building on the eponymous street in northern Durham County. "It's fairly enigmatic," Stamer says. "A farm, but it doesn't look to be that much in use." He's been back several times to take large-format reference photographs for the paintings; the structure has only degraded with time. "The thing's falling apart in front of my eyes, over the years." Subject, Stamer says, can be a springboard for formalist concerns, but it's not arbitrary or unimportant. These locations have some biographical resonance--how else to paint them with such a reverent patina? At some point, he seems to suggest, the objecthood of the painting itself surpasses or equals the objecthood of the subject. This is especially apparent with the newest works from 2013, in which the artist puts greater emphasis on physicality: "The surfaces are important; I'm trying to figure out new ways to make marks all the time, for every painting."

Personally, I've long been interested in this concept of building or making a painting--as opposed to painting it. It's come up in varied conversations, with Jack Whitten (who embeds and anchors acrylic objects in a field of paint) and Fred Tomaselli (who buries found images and organic material in a tomb of resin). Stamer starts with a figurative interest in subject, but then proceeds to work on that image, to efface it, blur it, hide it, scrape it, partially to "super- compress time,"as he says, to imbue the finished piece with a heavy burden (history, weight, surface scars). Stamer takes seemingly abandoned architecture as his subject, and then proceeds to build a painting that reflects on that physical place, creating rough monuments to the otherwise passed and forgotten. The structures he represents--once built by hand, now left to ruin--are rebuilt, by hand, with paint, and distressed to reflect their heritage.

Part of what makes these paintings so exciting is the sense that Stamer has tamped down the diffuse enthusiasm of his earlier efforts, arriving at a more refined vocabulary that nods to his influences while also being clearly his own. The Germans are still there--Leipzigers like Matthias Weischer, for instance, but also Gerhard Richter and his signature squeegee-drag and photo-blur. Stamer' compositions are also more fully integrated, the impasse between abstraction and figuration more suavely negotiated (gone are the harsher juxtapositions between, say, a realistically rendered hay bale or barn and its surrounding weather system of daubs, marks, and brushstrokes.)

Landscapes, which is how Stamer characterizes these pieces, are "the biggest lie you can make," he says, "suggesting a space that you can 'get into.'" Part of what he's after is a push/pull response on the part of the viewer, drawn into that space before being ejected back out--with white borders that clearly contextualize the image as an image, or diptych and four-panel compositions that break or fracture the unified landscape into its constituent, painted parts. Those techniques have interesting resonances with the 1960s work of Llyn Foulkes, recently rediscovered and feted with exhibitions at the New Museum and Andrea Rosen Gallery--particularly his large-scale paintings that use borders to evoke the format of a postcard. Both with Foulkes and Stamer there is a marriage between elements of so-called traditional landscape and framing devices that disrupt or sabotage that reading, an uneasy friction between the real and the artificial. "You're always popping back to the surface, or being blocked from that space,"Stamer says. "I like that in-between. It's at once an illusionistic space, one you can enter, and at the same time it's rejecting that and calling attention to itself as a painting."

*

If the painting is a building, then Stamer constructs it only to deconstruct it--a mad logic for architecture, albeit a productive one for art. Arthur C. Danto, in Beyond the Brillo Box, writes of art's history of conceptual erasures, and how for painting, the conceivable endpoint for such a project is "pretty much the blank canvas." (Think also of Robert Rauschenberg's cheeky/sacrilegious Erased de Kooning Drawing of 1953.) In Stamer's case, it's self-erasure, self-defacement, but not to the point of blankness. A series of oil-on-panel works from 2012--Southern landscapes named after elite nightclubs and lounges in New York City--are a good case in point. Chloe takes an otherwise pristine scene (some scrubby brush, a cloud-dappled sky) and subjects it to impolite marks: a zigzagging slash, a swoop of black pigment, a vertical rectangular smudge in green. Such gestures question the purity of the landscape that are the work' subject, the entire tradition of landscape painting, and the supposed integrity of the material surface (hacking away at the aforementioned "space that you can get into."

With the paintings in Sundays, the way the image is worked on often generates an unstable blurriness, the subject's integrity suddenly mirage-like. We can, technically, still tell what we're looking at, though this is an easier feat if the works are seen together as a series of manipulations and riffs on a single location, like Patrick Road. Patrick Rd. 4 gives us a clear vision of the basic architectural bones.Patrick appears to erase most of that, as if the artist had mopped the surface with a turpentine-stained rag: A do-over that was never done. ("It seemed like the right thing, to keep going and taking away," Stamer explains. "Sometimes the more you take away the more powerful the image becomes." Patrick Rd. saves most of the representative features, but subjects them to a mirage-like shimmer, as if the world is about to be stretched into pure static. And Patrick Rd. 5 retains only the barest suggestion of a structure in gritty, roughly worked oil pain--it would likely appear as an abstraction without the counterpoint of its predecessors. Yet that painting is almost readable compared to the small-scaleSouth Lowell 6, in which Stamer has entirely obscured his source material, creating a work that resembles a black-and-white photograph that has been physically and chemically degraded. The painting turns Stamer's "in-between space" into a taunt, daring to be recognized--as house, road, sky, field--but offering up very little to directly relate to.

*

After 3 years in New York City, Stamer returned home to North Carolina, predicting that closeness to his chosen subject matter might have a positive effect on the work. (He also enrolled in the M.F.A. program in Chapel Hill, making him a particularly qualified, or overqualified, graduate student.) His goal now is to work between two studios, one in Brooklyn, the other "out in the sticks," not far from South Lowell Road itself. I'm personally excited to see how experience, and this unique shuttling between city and country, continues to influence his artistic trajectory--what he'll push forward, what he'll abandon, what he'll recast in a different light. Earlier experiments--with text, with color--could certainly creep back in intriguing ways. For now, Sundays presents a snapshot of Stamer's current, mature voice, using painting to work through a variety of concern--about landscape, nostalgia, photography, the South, architecture, and the slow erosion of time. They're postcards from a place we've likely never been, but somehow inhabit, for as long as the illusion allows.

--Scott Indrisek, Executive Editor, Modern Painters.

Stamer has received numerous international awards including a Fulbright Grant, Jacob K. Javits Fellowship, as well as a Rotary Ambassadorial Scholarship. He has studied internationally at the Hungarian Academy of Fine Arts in Budapest, Hungary and the Stuttgart State Academy of Art and Design, Germany. Damian received his M.F.A. from the University of North Carolina, Chapel Hill and his B.F.A. from Arizona State University (summa cum laude). He has exhibited extensively in the U.S. and abroad, including a solo show Overgrown at The Center for the Study of the American South in Chapel Hill, NC and a two-person show Stamer/Thaler at Art Factory Gallery in Budapest, Hungary. He has an upcoming solo exhibition at Galerie Michael Schultz in Berlin in March 2014.

Freight + Volume
530 W. 24th Street
New York, NY 10011
T: +1 212-989-8700

Freight + Volume

Galerie Barbara Thumm, Berlin

Jo Baer In the Land of the Giants (Spirals and Stars) 2012 oil on canvas 149 x 149 cm Courtesy of the artist and Gallery Barbara Thumm Photo: Gert Jan van Rooij

JO BAER
IN THE LAND OF THE GIANTS

until 21 Dec 2013

We are very proud and pleased to present the exhibition IN THE LAND OF THE GIANTS - which was first shown at the Stedelijk Museum in Amsterdam - in the gallery in Berlin. The exhibition was held in conjunction with the Ludwig Museum in Cologne, which showed paintings and drawings since the 1960s. IN THE LAND OF THE GIANTS presents a new series of paintings and works on paper by Jo Baer (b. Seattle, 1929), one of the most renowned contemporary artists today. Since the fifties she has followed a radical path, was one of the groundbreaking forces of the New York Minimalism of the sixties to which she turned her back in the early seventies and moved on to rural Irland where she developed what she called her radical figuration.

For many years the reception of Baers work focused on the radical break in her work, which was articulated in the famous article I am no longer an abstract artist in Artforum in 1983. Recently the reading of Baers oeuvre has shifted towards an understanding of the continuation of themes and links between the different bodies of works. The recent exhibition at the Ludwig Museum impressively proofed the interconnections and references in Baers oeuvre. IN THE LAND OF THE GIANTS consists of a series of six paintings, which were developed between 2009 and 2013. This cycle of works is based on her life-long interest in history and science, finishing the last painting, Royal Families (Curves, Points and Little Ones), in January 2013.

The paintings in the exhibition betray a connection to the Minimalist work. The artist sees these works as abstract art with images, alluding to their spatial quality. The two earliest paintings of the series, Dawn (Lines and Destinations), 2009/2011 and Dusk (Bands and End Points), 2012 present large empty spaces, which the artist intended as a recollection of her abstract work. Just as the early paintings addressed the physical characteristics of painting and the discrete properties of colour, light and form, the recent works embody many of the same essential qualities. The new cycle depicts imagery of the various Neolithic monuments that can be found in the remote rural areas of Ireland. While living and working in the Irish countryside between 1975 and 1982, Baer encountered the ancient monoliths and burial sites associated with the Neolithic Hurlstone. In 2011 she returned to the region on a fieldwork trip to revisit the prehistoric sites that still intrigued her. The resulting body of work traces her interest in the genealogy of prehistoric periods, mapping human convergences, and timelines of thought and memory. The compositions are in large part defined by the form, scale and arrangement of monumental stones.

Galerie Barbara Thumm
Markgrafenstrasse 68
D-10969 Berlin
Germany
T: + 49/30/283 90 347

Galerie Barbara Thumm

14.11.2013.
PHOTOGRAPHY
Londonewcastle Project Space, London
Jerwood Space, London
Loock Galerie, Berlin
Taka Ishii Gallery Photography/Film, Tokyo

Londonewcastle Project Space, London

Ted Dwane 'Lewis', 2013 Silver Gelatin Print 16 x 20 " Image courtesy of Ted Dwane, copyright Ted Dwane

TED DWANE
A Show of Faces

16th – 24th November 2013

A Show of Faces is the first solo exhibition of Photographer Ted Dwane. Armed with his Rolleiflex and mobile darkroom, Dwane captures the many faces he encounters on the road as part of one of the most successful British bands of the last ten years, Mumford and Sons. In an age when most photographs are never processed into a physical image, Dwane’s fascinations are focused on the traditional photographic process where all edits are conducted in the moment of taking the picture.

The exhibition will include a small collection of existing work, however the main focus will be on the images created in the space over the course of the show. Titled 'Major Minor Portraits’, the work aims to immerse, inspire and excite people about the photographic process whilst creating portraits that strive to offer the deepest possible insight into the individual sitter.

Major Minor Portraits is a live collaboration between Dwane and immersive theatre group Reuben Feels. Sitters will be selected at random from exhibition visitors and asked to become part of the spectacle they came to experience.

Dwane will create a 'Direct to Positive', one-off image of his subjects, a live soundtrack will accompany the longer exposure times in an attempt to intensify the existing mood of the individual.

The portraits will be hung whilst still wet with the entire process taking only ten minutes. A questionnaire completed by the sitter will hang alongside their image, conveying a yet deeper representation of their portrait.

By the end of the exhibit Dwane aims to have created over 100 unique portraits, each with a unique story attached.

Londonewcastle Project Space
28 Redchurch Street
London E2 7DP
12 - 6pm daily except closed on Monday & Tuesday

Londonewcastle Project Space

Loock Galerie, Berlin

NOGUCHI Rika A Man and Some Birds #4, 2010 chromogenic print 135 x 90 cm Courtesy of Loock Galerie, Berlin

NOGUCHI Rika
A Man and Some Birds

November 9th, 2013 until January 18th, 2014

After the "Color of the Planet" exhibition at DAAD Gallery in 2006, we are pleased to present Noguchi Rika in her third solo show in Berlin. Noguchi started photography in the early 1990s and quickly gained attention for her highly accomplished work. In our exhibition Noguchi shows the series The Sun (2005 – 2008), most recently exhibited at the Walker Art Center, Minneapolis, and The National Art Center Tokyo along with A Man and Some Birds (2010) which lends its name to the exhibition.

In the series The Sun - most of the photographs has been taken in Berlin - the play with the light becomes the protagonist.
"Noguchi Rika used a commercially available pinhole camera to photograph the The Sun series. A pinhole camera does not require a lens and has the construction of a black box, or a camera obscura, which is the prototype of the modern camera. With a pinhole camera, light passes through a small hole that is less than 0.5mm and fixes the image onto the film. (...) In a large part of Noguchi´s photographs of the sun, there are two different kinds of images superimposed over one another - the image of things reflecting light and the trace of sunlight itself. Looking at the series of photographs, one is left with the feeling that the white sun is washing over the photographic paper and repeating itself in each of the images. [Like the way acid burns matter] it seems as though the sun is eating away the images. In a sense, the idea is almost anti-image."
- Minami Yusuke, Chief Curator, The National Art Center, Tokyo

In a Man and Some Birds (2010) Noguchi captured the very special moment where the climbing cleaning worker is cleaning Berlin´s architectural highlight, the Tempodrom.
Her photographs show tiny human figures, incidental details of people, going about their own business. On another plain from that on which the observer stands, they seem like birds or insects engaging in their instinctive behaviours. One of the vital elements in Noguchi´s perspective is that she tries to stand somewhere beyond the ends of the earth to photograph celestial bodies.
What also connects the two series, besides the remote perspective, is the mystical power that characterizes her work in general.

Noguchi Rika, born 1971 in Saitama, Japan, lives and works in Berlin. She graduated from the Department of Photography, College of Art, at the Nihon University (Tokyo). Furthermore she participated in the fourth artist-in-residence program in Hinode-cho and stayed in New York with a fellowship from the Asian Cultural Council. Solo shows include the Izu Photo Museum (Shizuoka), D´Amelio Terras (New York), Gallery Koyanagi (Tokyo). She has also participated in numerous group shows such as the Sharjah Biennial 8, Sharjah U.A.E., 55th Carnegie/International: Life on Mars, Carnegie Museum (Pittsburg) and the Yokohoma Triennale 2011 in Yokohoma. Moreover, Noguchi Rika participates with her series Rocket Hill (2001-2002) at the Entrepreneur 4.0 Award 2014.

Loock Galerie
Potsdamer Straße 63
10785 Berlin
Germany
T: +49 30- 39 40 96 85 0

Loock Galerie

Jerwood Space, London

Joanna Piotrowska VI Frowst, 2012 Silver Gelatin Hand Print Image courtesy of the artist

JERWOOD ENCOUNTERS: Family Politics
Curated by Photoworks

6 November – 8 December 2013

Jonny Briggs, Robert Crosse, Nikolai Ishchuk, Joanna Piotrowska, Claudia Sola and The Photocopy Club

The Jerwood Encounters exhibition, Family Politics, curated by Photoworks will show at Jerwood Space, London from 6 November – 8 December 2013.

The exhibition presents new commissions and existing work by six early career photographers relating to 'Family Politics’ - the curatorial theme of the first issue of Photoworks Annual which will launch alongside the exhibition. The exhibiting artists include invited artists Claudia Sola and The Photocopy Club; and artists selected from an open call, Jonny Briggs, Robert Crosse, Nikolai Ishchuk and Joanna Piotrowska. The exhibition explores the different ways in which artists consider and use photographic practice resulting in an expanded view of the medium.

As a subject, the family is both private and public: the site of intimate inter-personal relations and a social construct subject to public and political pressures. This relationship is mirrored in examples of family photography. The majority of family pictures serve essentially private functions, accruing meaning through their relationship to the memories, experiences and histories of individuals. However, the family is also the subject of public photographic representation and contestation largely through digital media and 'over sharing’. This involves a wide variety of practices, including representations in the mass media, art and advertising.

Family Politics features a variety of approaches to photography with each work drawing on photographic language as a reference point.

The exhibition coincides with the publication of Photoworks Annual which explores the Family Politics theme further with commissioned work from Jowhara Alsaud and Claudia Sola, Folios by Broomberg & Chanarin and John Clang; conversations between: Marianne Hirsch and Lorrie Novak, Wendy Ewald and Anthony Luvera, Bettina von Zwehl and Kelley Wylder and writings from Michael Bonesteel, Susan Bright, Terry Dennett, Geoffrey Batchen, Blake Stimson, Sarah James, Stephanie Schwartz, and Judith Habelstram, Aaron Schuman, Blake Morrison, Andrew Kötting, Sue Hubbard and David Campany amongst others.

Jerwood Space
171 Union Street
London SE1 OLN
T: + 44 (0) 20 7654 0171
Monday – Friday 10am – 5pm
Saturday & Sunday 10am – 3pm

Photoworks

Taka Ishii Gallery Photography/Film, Tokyo

YUTAKA TAKANASHI
"AQUA TREE"

November 2 - November 30, 2013

Taka Ishii Gallery Photography / Film is pleased to present "AQUA TREE," Yutaka Takanashi's first solo exhibition with Taka Ishii Gallery, from November 2 to 30, 2013. "AQUA TREE" comprises 17 color images, which inspired by children's songs he heard as a child, Takanashi shot as he followed the steel towers, from which power lines are suspended, all the way to the source – a hydroelectric plant in the eastern region of Yamanashi Prefecture.

The idea of following the steel towers occurred to me when I remembered a song I used to sing as a child.

"Strange electricity runs; strange electricity runs
It runs as it sees the sunset clouds; it runs as it sees the sunset clouds
All the way from the mountains; it runs a marathon through the black power lines"

- Excerpted from "Electricity (Fushigi-na denki)"
lyrics: Chieko Nakamura Music: Makoto Sato in Two Hundred Japanese Children's Songs.
The Association of Children's Song Writers in Japan, 1986

I eventually found out that the power lines I was photographing were the "Suginami line." The Shishidome Power Station in Tsuru, Yamanashi Prefecture, which was established in the early Taisho Period, is where the Suginami line originates. Hirono-san from TEPCO told me that in the spring, the mountain where the plant is becomes covered in cherry blossoms and very beautiful.
On March 11, it was overcast and I was taking a nap. I was surprised by the strong quake and rushed to my study while half-asleep and saw my family hugging the camera shelf.
On April 10, I went to the power plant from where one can see Mt. Fuji in the distance. The flowers were in bloom and at the foot of the mountain was a roaring stream.

"The fields of Musashi were once filled with the smell of gromwells
As Japanese culture blossomed,
Mountains behind which the moon would hide
And the plains below disappeared without a trace"

- Excerpted from the Official Song of Tokyo established in 1926

In thinking about the start of "the city," I remembered this song.
The "AQUA TREE" was a process of looking up at the sky and exploring the ground below.

- September 2013, Yutaka Takanashi

Throughout his career, Takanashi has examined "the city." From the children's song above, he sensed the admiration and reverence that children used to have for electricity. He explains, "Electricity was necessary for Tokyo to urbanize. So I thought of photographing the root of the electric towers, which signaled the "advent" of electricity." Starting in the city, where contemporary lifestyles can be seen, and traveling against the flow of electricity, Takanashi followed the power lines and power towers to arrive at the hydroelectric plant surrounded by cherry blossoms. By following the first power that entered Tokyo, he traveled back in time to simultaneously decipher the process through which the city was formed and expose the current state of the city.

Taka Ishii Gallery Photography/Film
AXIS Building 2F, 5-17-1
Roppongi, Minato-ku
106-0032 Tokyo
Japan
T: +81 3-5646-6050

Taka Ishii Gallery

13.11.2013.

EXTENDING REALITIES: THE LANGUAGE OF PHOTOMONTAGE
Rowan College Art Gallery, Glassboro, New Jersey, USA, October 14 - November 16, 2013
Curated by Stephen Perloff, Editor, The Photo Review

Showcasing an expanded framework for photographic images, Rowan University Art Gallery presents the work of international artists who create unique perspectives using montage techniques. The exhibit runs from October 14 to November 16, 2013.

Curated by Stephen Perloff, editor of The Photo Review, “Extended Realities: The Language of Photomontage” includes 31 images representing work by modern photomontage pioneers Jerry Uelsmann and Duane Michals, and contemporary artists from Stane Jagodic, Maggie Taylor and Joe Mills to Fran Forman and Frank Rodick, Paul Cava, Francesca Danieli, Catherine Jansen, and Dominic Rouse.

“From its earliest years, photographers have sought to overcome the limitations of making images from a single exposure, to adapt the picture-making strategies of printmaking, drawing, and painting, and to claim an equal place for photography among the fine arts,” Perloff notes.

Photomontage - the combining of two or more photographic images into one - has been one strategy for achieving this goal. It was used in the 19th century by such practitioners as Oscar Gustave Rejlander and Henry Peach Robinson, and was popular in the early 20th century among the Dadaists and Surrealists as well as Russian Constructivist artists and Modernist photographers. In the latter part of the 20th century, photomontage was revived by a number of photographers, most notably by Uelsmann, and used by Michals as one of several modes for extending the photograph beyond a single image in a black-and-white rectangle. More recently, contemporary artists have employed the technique for everything from documentary imagemaking and whimsical constructions of reality to modern-day surrealism and explorations of personal history.

4.11.2013.
CRAJES
Ingemisco tamquam reus, culpa rubet vultus meus; supplicanti parce, Deus.

N2 Galería, Barcelona, Spain
7 November - 16 December 2013
Opening: 7 November 2013, 7 pm

Ingemisco nº 1 (2013). Oil on canvas. 150 x 150 cm

Ingemisco, tamquam reus, culpa rubet vultus meus; supplicanti parce, Deus (Gimo, como un reo, el pecado enrojece mi rostro; perdona Dios, a quien te implora) es el nombre de la nueva exposición de Crajes en Barcelona y parte del poema Dies irae.
Creando un clima extraño lleno de imágenes bellas y perturbadoras se abre una brecha en el análisis de la naturaleza humana y en como se ha ido moldeando al son de cánones preestablecidos por individuos que se encuentran por encima de ellos.

Tomando como punto de partida Justine y Juliette del Marques de Sade; Crajes crea una serie de óleos y tintas donde la sexualidad, las parafilias, la perversidad y el placer se entremezclan hasta la confusión llegando al cuestionamiento de la naturaleza humana como ser bondadoso y piadoso en si mismo.
Siguiendo la habitual dualidad en su trabajo, podemos dotar esta nueva exposición de una madurez ya iniciada en su anterior muestra "Virgins of Perverseness" en Manila.
La fuerza en el detalle, la ejecución y la técnica se envuelven de un halo de sensualidad, delicadeza y perversidad que se sostienen sin resultar inconexas.
En N2 Galería, y por primera vez en Barcelona, se muestran sus trabajos a óleo acompañados de sus habituales trabajos a tinta.

Ingemisco nº3 (2013) Oil on canvas 110 x 110 cm.

Ingemisco, tamquam reus, culpa rubet vultus meus; supplicanti parce, Deus es una exposición diferente. Y como comentan Crajes después de un largo tiempo de encierro trabajando en ella; "Ha resultado la exposición más difícil de ejecutar de las que hemos realizado hasta ahora, hemos pasado por muchos estados de animo durante la producción y hay mucho de nosotras en las piezas".
En otra parte del poema se lee: "La muerte y la Naturaleza se asombrarán, cuando resucite la criatura para que responda ante su juez". El fuerte contenido místico y conceptual de la obra de Crajes queda oculta, en esta exposición, por las imágenes bellísimamente contundentes.

Ingemisco nº5 (2013) Oil on canvas 116 x 92 cm

Ingemisco, tamquam reus, culpa rubet vultus meus; supplicanti parce, Deus (I sigh, like the guilty one, my face reddens in guilt; Spare the supplicating one, God) is the title of the new Crajes' exhibition in Barcelona and comes from Dies irae poem.
Creating an atmosphere full of beautiful and disturbing images a gap is opened in the analysis of human nature and how it has been shaped with canons established in advance by individuals who are above them.
Taking as a begining point Justine and Juliette by Marques de Sade; Crajes creates a series of oils and inks where sexuality, paraphilias, perversity and pleasure are mixed until confusion reaching the question of human nature as being kind and gracious in itself.
Following the usual duality in their work, we can provide this new exhibition of a maturity already begun in their previous show "Virgins of Perverseness" in Manila.
The strength in detail, the technique and the execution are wrapped by a halo of sensuality, delicacy and perversion which are held without being disconnected.
For the first time in Barcelona, N2 Gallery is showing their oil on canvas works with their usual ink on paper pieces.

Ingemisco nº 8 (2013) Oil on canvas 180 x 73 cm.

Ingemisco nº 9 (2013) Oil on canvas 180 x 73 cm.

Ingemisco , tamquam reus , guilt rubet vultus meus ; supplicanti parce, Deus is a different exhibition. As they say after a long confinement time working on it: "It has been the most difficult exhibition that we have done so far, we have gone through many moods during it's production and there is a lot of us in the pieces".
In another part of the poem you can read: "Death and nature will marvel, when the creature arises,
to respond to the Judge." The strong mystical and conceptual content in Crajes work is hidden, in this exhibition, by beautifully strong images.

Ingemisco nº 10 (2013) Ink on paper 130 x 100 cm.

3.11.2013.
Tito A Yugoslavian Icon / Exhibition - 7.11.2013 - 28.2.2014
Tito Obraz Jugoslavije / Razstava | 7.11.2013 - 28.2.2014
Gospodarsko razstavišče v Ljubljano
Slovenia

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1.11.2013. Venecijanski bijenale - La Biennale di Venezia

La 55. Esposizione Internazionale d’Arte in Venezia , si è inaugurata il 29-30-31 maggio per la stampa, dal 1°giugno al 24 novembre 2013 ai Giardini e all’Arsenale è stata aperta al pubblico, e allargata in vari luoghi di Venezia.
Il titolo scelto dal direttore Massimiliano Gioni per la 55.Esposizione Internazionale d’Arte è :



                   Il Palazzo Enciclopedico

La Biennale d’Arte si propone ancora una volta nella forma”duale”definita una grande Mostra internazionale diretta da un curatore scelto a tale fine le partecipazioni nazionali (così Paolo Baratta ha introdotto la 55. Esposizione Internazionale d’Arte) ricordando che i padiglioni dei paesi sono una caratteristica molto importante della Biennale di Venezia , ha definito questa Biennale una mostra di ricerca.

Il modello stesso delle esposizioni biennale nasce dal desiderio di concentrare in un unico luogo gli infiniti mondi dell’arte contemporanea. Un compito che oggi appare assurdo e inebriante quanto il sogno di Auriti e del suo Palazzo Enciclopedico come scrive Masimiliano Gioni(il direttore coi suoi 40 anni è il più giovane nella storia dell’istituzione), il Padiglione Centrale lo rappresenta in tutto.

I Leoni d’oro alla carriera sono stati attribuiti con cerimonia di consegna l’1 giugno ai Giardini e all’Arsenale all’artista austriaca Maria Lassnig e all’artista italiana Marisa Merz nella 55.Esposizione Internazionale d’arte della Biennale di Venezia.

Curiosissima l’idea dell’artista tedesco John Bock ai giardini delle tese,con una installazione percorso in cui si arriva alla meta una teca di vetro illuminata, dove all’interno gira una larva viva.

Il Padiglione Italia curato da Bartolomeo Pietromarchi (Vice Versa) ci ha fatto dimenticare la pochezza della precedente biennale del 2011, mentre in questa edizione il Padiglione Italia è ben rappresentato e intelligentemente impostatosi sul raffronto/confronto tra gli artisti.

Oltre alle opere di Ghirri , Vitone , Arena , Favelli , Maloberti , Paolini, Tirelli , Bartolini , Grilli, Benassi , Barucchello, Xhafa, vogliamo segnalare per l’opera altamente concettuale di Piero Golia nei giardini del padiglione, l’opera si presenterà , appunto, come un cubo in cemento, piuttosto poroso e dunque, relativamente friabile. La caratteristica di questa malta del tutto inedita, nella colata di cemento infatti l’artista ha disciolto nell’impasto di acqua e pozzolana un considerevole quantitativo di polvere dell’oro, per un controvalore superiore ai 60mila euro un monolite grigio, ma venato e screziato di venature dorate che risplendono al sole. Implicazioni sull’attuale momento economico, sul rapporto con la ricchezza, la sua solidità , il suo impiego con annessi e connessi. Ecco finalmente il tanto discusso e atteso Padiglione della Santa Sede , splendidamente rappresentato da Studio Azzurro , il fotografo Kudelka e l’artista Lawrence Carrol.

Il padiglione Cina a nostro parere tra i migliori , come pure Russia , Spagna , Olanda ,queste nazioni si distinguono particolarmente , ma suscitano interessi e curiosità molti altri padiglioni , da citarne alcuni come la Turchia con il videoartista Ali Kazma padiglione curato da Emre Baykal , al Belgio , Angola (presente alla biennale per la prima volta e già vincitore del Leone d’Oro ) , Kuwait , Costarica, Ungheria , Indonesia , Sudafrica , Svizzera , Usa,Turchia , Padiglione Venezia , Maldives , Kosovo, Slovena, Austria ,Iceland , Asia Centrale, e Galles (curatore Cramerotti).

Sono 48 gli eventi collaterali alla 55. Esposizione Internazionale d'Arte intitolata quest'anno I

" Il Palazzo Enciclopedico". Gli eventi collaterali ammessi dal curatore Massimiliano Gioni sono organizzati in numerose sedi della citta' e propongono un'ampia offerta di contributi e partecipazioni che arricchiscono il pluralismo di voci che caratterizza la mostra di Venezia. Si segnalano in particolare :   Glasstress di Adriano Berengo , Thomas Zipp ,Libri d’acqua Antonio Nocera , Lawrence Weiner The grace of a gesture , Noise- Ex Magazzini San Cassian ,Overplay curato da Massimiliano Bazzanella , Ai Weiwei disposition , e qualche evento organizzato in concomitanza alla Biennale di buon interesse il Padiglione Tibet curato da Ruggero Maggi a Santa Marta Congressi dal 1 giugno al 7 settembre , la performance 4’ 33” Silence Loop di LIUBA o il bagno in canale della performer cinese Xiao Lu .

http://www.literary.it/dati/literary/G/gruppo_sinestetico/55_esposizione_internazionale_d.html

http://www.lobodilattice.com/mostre-arte/55esposizione-nazionale-darte-venezia-2013

STANE JAGODIČ - DER GLÄUBIGER DES LICHTS
20. 9. - 9. 11. 2013 - Galerie PHOTON, Vienna, Austria

Stane Jagodič (1943) ist ein slowenischer Maler, Fotomontagekünstler und Aphoristiker. Vor allem wurde er durch seine meist sozialkritischen und humorvollen Montagen, Assemblagen und Collagen bekannt sowie durch das Zusammenführen von Objekten, die als unvereinbar scheinen. Er war der Initiator und Leiter der Gruppe Juni (Slowenisch: Grupa Junij), einer internationalen Kunstbewegung der 1970er Jahre. Ein kleiner Teil seiner Arbeiten wurde dem Wiener Publikum im vergangenen Jahr in der AusstellungGruppe Juni während des Festivals Monat der Fotografie präsentiert. Diese Werke sind auf großes Interesse gestossen und vor allem seine kreative Nutzung des fotografischen Mediums hat das Publikum begeistert. Jagodič hat in den 70er und 80er Jahren mit vielen weltbekannten Künstlern_innen, unter anderen mit Joan Fontcuberta, Manfred Willmann, Udo Niels und Valie Export zusammengearbeitet, welche die Verwendung der Fotografie beziehungsweise die Grenzen des Mediums ausgeweitet haben. So ist es nicht verwunderlich, dass eine Ausstellung die er selbst kuratierte, im Jahr 1988 den Grand Prix des Festivals Mois de la Photo in Paris gewonnen hat.Den größten Teil seiner Einzelausstellung in der Galerie Photon werden Jagodič's Fotomontagen, Collagen und Fotoserigraphieneinnehmen. Darüber hinaus werden zwei seiner Assemblagen und eine Filmprojektion gezeigt.

31.10.2013.
Galerie Rupert Pfab, Düsseldorf
Galerie Christian Lethert, Cologne
HPGRP Gallery, New York
Samsøn, Boston

Galerie Rupert Pfab, Düsseldorf

Ruprecht von Kaufmann Die Passage (detail), 2013 acrylic and oil on canvas 150 x 210 cm Courtesy of Galerie Rupert Pfab, Düsseldorf

RUPRECHT VON KAUFMANN
Die Nacht / The Night

8 November – 21 December 2013

Ruprecht von Kaufmann's exhibition titled 'Die Nacht' (The Night) brings together recent aintings, gouaches and collages. Inspired by mythology, literature and art history, Ruprecht von Kaufmann draws his viewers into a fantastical, magical and generally sombre world of imagery, within which the familiar and real intermingle with dreams and memories.

The surreal scenes in disturbed or even destroyed landscapes and interiors exude a sense of thematic incompleteness, since they merely hint at incidents and events. The otherwise passive viewer takes on the role of a silent, unnoticed observer of these unusual 'in-between worlds' and is encouraged to, in a manner similar to the interpretation of dreams, to find his own way, by means of his own imagination, to the origins or the conclusion of the events depicted. As a result of the large-scale format of the canvases, it is practically impossible for the viewer to defend himself against the feeling of somehow being a part of it all.
The reduced colour palette as well as the generally multi-perspective arrangement of the figures and compositions help the artist create mysterious settings, in which fantasies, memories and the imaginary are united with each other.

To achieve this goal, Ruprecht von Kaufmann prefers the genre of the 'Nachtstück' (night piece). The night as an integral part of the day, in which the boundaries between dream and reality become blurred. He makes references to art history and the works of important painters and combines various typical aspects of nocturnal images. Be it candle paintings, such as those found in the genre painting of the 16th century, mythological catastrophe scenes in the nocturnal paintings of the 17th century, Romantic nocturnal landscapes or the Neo-Romantic, Symbolist nocturnal scenes of Odilon Redon, in which the demonic-fantastical dreams and visions represent the characteristic features of night. All of this can be found in both the large-format canvases and in the more sensitive gouaches of Ruprecht von Kaufmann.

Ruprecht von Kaufmann studied painting and illustration at the Art Center College of Design in Los Angeles. In 2007, he was awarded the Grand Promotional Prize of the Konrad Adenauer Foundation/Else Heiliger Foundation and the Promotional Prize of the Woldemar Winkler Foundation. These were followed by a professorship at the Berlin University of the Arts (UdK); since 2012, he is Professor for Drawing and Artistic Anatomy at the Academy of Visual Arts (HGB) in Leipzig.

Ruprecht von Kaufmann lives and works in Berlin and Leipzig.

Exhibition opening in conjunction with the joint gallery weekend Kunst in der Carlstadt.

Galerie Rupert Pfab
Poststraße 3
D-40213 Düsseldorf
Germany
T: +49 211.13 16 66

Galerie Rupert Pfab

HPGRP Gallery, New York

Adela Leibowitz Isis and the goat-fish of Ea (Enki), 2012 oil on canvas on panel 20" x 20" Courtesy of the artist and HPGRP Gallery, New York

ADELA LEIBOWITZ
Mesopotamian and Egyptian Mythology

November 7 – November 30, 2013

"In sleep and in dreams we pass through the whole thought of earlier humanity…"
-Nietzsche

hpgrp gallery is pleased to announce the opening of "Mesopotamian and Egyptian Mythology," a solo exhibition of new paintings by the New York-based artist Adela Leibowitz.

Since 2001, Leibowitz has been examining fairy tales and mythology in her paintings and oil collages which utilize various disparate references, at times borrowing from and recontextualizing ancient artifacts. Unlike earlier series such as Fairytales of the Macabre (2004) and The Cassandra Prophesies, (2006), which focused on Western tales, Leibowitz turns to Eastern religions and mythologies in "Mesopotamian and Egyptian Mythology." In this exhibition, she continues her explorations by re-animating gods and goddesses, chaos demons, sages, protective deities and mythical hybrids. She places them in lush, tropical landscapes that represent a primal world where humans, animals and nature co-exist together in harmony. In essence, she creates utopias.

With artistic predecessors such as Henri Rousseau, the Disney animator Mary Blair, as well as Ray Harryhausen's stop motion animation in "Mysterious Island," Leibowitz's paintings ultimately evoke a childlike sense of wonder.

At times, the paintings are bright and full of hope. At others, they are mysterious and brooding, depicting nighttime scenes haunted by blue moons. Some works embody heavy symbolism, such asSerpent of chaos and destruction in battle with the sun God (2013), a surreal landscape consisting of a serpent balancing a classical marble bust on its tongue that recalls Salvador Dali and Giorgio de Chirico. Mask of Ki (2012), depicts a bust of the Sumerian Goddess of earth wearing a headdress woven from the jungle-like scenes depicted in other works. In one Sumerian mythology version, Ki is attributed with creating many assortments of plant life after copulating with An, the god of heaven. Dark yet transformative elements are introduced in A place between death and rebirth (Sirius, canopic jars, faience hippo, Ishtar gate, dancing bear soundbox), which shows a congress of deities associated with death, burial, renewal and the pleasure of music. Such esoteric references abound in her art, adding layers of intrigue.

Her paintings are created from a place of joy, love and curiosity - through them, the imagination is given the opportunity to return to a sense of wonder.

About the Artist
Solo exhibitions include The Untitled (2011) and The Cassandra Prophecy (2006) at hpgrp Gallery, New York, NY and New Paintings (2009) at 33 Bond, New York, NY and Fairytales of the Macabre (2004) at Jack the Pelican Presents, Brooklyn, NY. Group shows include hpgrp Gallery, New York, NY and hpgrp Gallery, Tokyo, Japan; Torrance Museum of Art, Torrance, CA; The Observatory in Brooklyn, New York; Holster Projects, London, United Kingdom; Parisian Laundry, Montreal, Canada; Bo-Lee Gallery, Bath, United Kingdom; and Mobile Museum of Art, Mobile, Alabama, to name a few. She holds an MFA from The New York Academy of Art, and has been awarded residencies at the Millay Colony in Austerlitz, New York, Vermont Studio Center in Burlington, VT and P.S. 122 in New York, NY. Her work has been featured in The New York Times, NY Arts Magazine, Whitehot Magazine, The Village Voice, New American Paintings, Time Out New York, Art of England, Art and Antiques and American Art Collector.

HPGRP Gallery
529 West 20th St. 2W
New York, NY 10011
T: +1 212 727 2491

HPGRP Gallery

Galerie Christian Lethert, Cologne

Nelleke Beltjens irresistible non-solution Installation view Galerie Christian Lethert, Cologne

NELLEKE BELTJENS
IRRESISTIBLE NON-SOLUTION

19 October - 21 December 2013

We are very pleased to present our third solo exhibition irresistible non-solution by Nelleke Beltjens(b. 1974). On this occasion the Dutch artist presents a group of new drawings she has been working on during her residencies in VCCA (Virginia), Yaddo (New York) and Berlin over the last year.

Contemporary life is characterized by uncertainty and complexity. The persistent feeling that we are living in an in-between stage is becoming more and more apparent; change is not only an idea, but rather felt on many levels. Nothing is solid, all is fragmented and in movement.

I use the medium of drawing to create highly intricate structures alluding to the over-complexity of our reality. Music is of great importance to my working process. The intensive and oft repeated listening of particular musical compositions – lately especially works by Wagner and Beethoven – engender the mood, the rhythm, and the level of feeling upon which the drawings come into being. Even though complex as a whole, the drawings are made with rather simple means: tiny little lines drawn off of the edge of a piece of rectangular paper. It's the concurrence of simplicity and complexity that dominates the drawings. The idea that we can't grasp our existence as a whole, that all is always in movement without anything being solid, and that everything is interconnected and reoccurring are main themes within the works. Besides drawing I cut into the works, exchange rectangular parts from one sheet to another so as to interrupt an already drawn "flow" and to start a next new layer which will than be fragmented aga in. The fragmentation will create a disruption which than will create a new "construction", and so on. In the end there is an untraceable network of lines and cuts creating no visible solution or conclusion but rather a process of increasing complexity; a structure which has lost orientation.

Alongside the fragmented lines and the cuts, the most recent works feature yet a third element: fragments of colored fabric tape, adding a further visual layer to the works which optically springs forward. Initially, I used tape only during the process of drawing, in order to temporarily mark particular compositional ideas. From this grew the idea to integrate these marked positions into the drawing, enfolding this process into the method of cutting and transferring. With this, an element that had previously served only to orient and act as a visual place holder, is fragmented into scores of "slivers" with varied directional impulses.

My latest series of drawings is called "irresistible non-solution". The title, and my conceptual framework more generally, are evocatively reflective of structures that the work is influenced by (and often critical of). Supposed solutions to personal or societal problems often enough serve only to further complicate the situation. My work has much more to do with the idea of breaking the structures open.

From December 5th – 8th we will again participate in the NADA MIAMI art fair. Furthermore we will again be part of Art Los Angeles Contemporary from January 30th to February 2nd, 2014. On January 17th we will open our annual GROUPSHOW with works by all artists of the gallery program.

Galerie Christian Lethert
Antwerpener Straße 4
D-50672 Cologne
Germany
T: +49 (0)221 35 60 590

Galerie Christian Lethert

Samsøn, Boston

Penn Young Swiss Allow in Jews from Vichy France 2006, oil on canvas, 51 x 58 inches (1.2 x 1.4 m) Courtesy of the artist and Samsøn, Boston

PENN YOUNG

WHAT I OWE
Oct. 25 - Nov. 23, 2013

I CRIED TO DREAM AGAIN
Nov. 26 - Dec. 21, 2013

Samsøn presents a solo exhibition in two parts, What I Owe and I Cried To Dream Again by Penn Young.

In the manner of an alchemist, Penn Young likes to mix various elements together, stand back, and watch the action unfold. With this exhibition – composed of individual works culled from a number of series he has developed over the last decade – Young joins seemingly disparate sculptures, paintings, and mixed media works, producing a visual and conceptual conversation between objects and spectator.

Looking around the installation at Samsøn, one might recognize the formal vocabulary that Young has adopted from the canon of twentieth-century art. You're My Hero, Willie Sutton (2012) is a constructivist-style sculpture, a grand three-dimensional drawing composed of gouged hollow-core doors and aluminum struts. It's Hell Dying Ugly Like This (2003) employs de Kooning-like sweeping brushstrokes and smears of fleshy, visceral paint. And the black tower of A Congenial Awareness 12 (2013) is reminiscent of the totemic, absolutist forms of early minimalism, tempered here by the lightly textured painted muslin that envelops its wooden panels.

We can imagine these varied pieces as an eclectic cast of characters; the artist, after all, began his career as a playwright, and this might be as much of a staged dialogue between the voices of these works as it is a traditional gallery exhibition. If it is a dialogue, then, what is the subject here? What are these works speaking to us about?

That amalgam of twentieth-century formalism, an open embrace of the physical innovations of modern art, offers one clue. The titles of the work offer another, suggesting a simultaneously arch and earnest commentary on the European and American historical, literary, economic, and moral conditions that generated those same artistic evolutions. You're My Hero alludes to Sutton and his apocryphal remark that he robbed banks "because that's where the money is," a teasing reference to the heady state of today's art market and the sometimes grandiose artistic ambitions that go along with it. Swiss Allow in Jews from Vichy France (2006) is a liquid, energetic abstraction in which a background of celestial blue is revealed behind the parting forms of melting, turbulent golds and browns. Here, the title and the expressionist medium point to the last century's legacy of genocide, violence, and the pivotal ethical responsibilities and actions of its witnesses.

Quietly operating behind these lofty themes are the intimate visual details of the works themselves.Portraits from the Return 1 (2005) is a towering, linear rail of four narrow pieces of wood whose color, a more uniform gold at the top, slowly shifts to varying tones at the bottom, like the undulating folds of a robe's hem. The bottom-most edge is anchored by the addition of two small pieces of wood, which serve to level the uneven lengths of the strips and ground the soaring verticality of the overall form. These additions are small and subtle, but they draw the eye and the mind into the processes at work, those minute yet countless decisions behind artistic practice.

It's clear that Young's intellectual curiosity is on display here, but so is a driving sense of formal experimentation and play, as if the artist were asking, 'what happens if I add this? or change that?' The characters that Young has created for his audience are at times meditative and bombastic, noble and abject. They speak to us of the choices we have made, and the choices we have yet to make.

Virginia Anderson, Ph.D.
September 2013

Virginia Anderson is a lecturer in modern and contemporary art at the Maryland Institute College of Art (Baltimore, MD). From 2005 to 2010, she was the Diane and Michael Maher Assistant Curator of American Art at the Harvard Art Museums. She received her Ph.D. from Boston University in 2011.

SAMSØN
450 Harrison Avenue / 29 Thayer St
Boston, MA 02118
T: +1 617 357 7177

SAMSØN

26.10.2013.
Sculpture & Installation

Koenig & Clinton, New York
ROCKELMANN &, Berlin
Galerie Michel Rein, Brussels
Galerie Loevenbruck, Paris

Koenig & Clinton, New York

Paul Ramírez Jonas Aggregate, (installation view), Koenig & Clinton, New York Courtesy of the artist and Koenig & Clinton, New York (photo credit: Thomas Mueller)

PAUL RAMÍREZ JONAS
AGGREGATE

October 17 - December 7, 2013

Koenig & Clinton is pleased to present its first solo exhibition of recent works by Paul Ramírez Jonas.Aggregate introduces the latest iterations of the artist's sustained inquiry into the social conditions that shape public voice, constitutive bodies, and political agency.

On view in the main gallery, five cork busts present a series of anti-monuments whose conventional forms are subverted by angular cuts to each face that deliberately obscure and de-center the identity of the memorialized figure.

Monuments, commonly fabricated with permanent materials, are often set out of reach with the purpose of inscribing public spaces indelibly. Counter to this tradition, the cork that is used for the Ventriloquistseries is covered in pushpins. Each anonymous monolith surrenders its discursive power and submits its authority to a public. In turn, that public will transform each monument into a communal bulletin board by posting its own messages. Ultimately, the Ventriloquist sculptures assert that public voice is not necessarily permanent nor singular; it can instead reflect the fragility, contingency, and plurality of the general populace.

Building upon Ramírez Jonas' earlier Admit One drawings, the new Assembly drawings present overlaid floor plans of multiple designated meeting places and the precise seating arrangements of the assembled publics within them. Stamped admission tickets stand in for every seat that awaits occupation. Whereas each Admit One renders a single architectural site, each Assembly imagines how separate spaces of deliberation (Congress), of action (meeting halls), and of spectacle (cinema) might intersect. Through this process, Assembly reveals unwitting ideological interdependencies and problematizes similarities between seemingly unrelated cultural spaces.

Near the gallery entrance, Witness My Hand asserts that a photocopy machine serves as an excellent pedestal. Pedestals are commonly tasked with the duty of 'making' public sculpture official. Witness My Hand inverts this gesture by allowing the viewer to duplicate and publish the underside of the sculpture. In this way, a photocopier is a magic base. It materially supports original artwork on its glass surface, while potentially disseminating an endless number of copies; at least until the toner runs out. Paying homage to Piero Manzoni's Magic Bases (1961), Witness My Hand no longer elevates the artist, no longer serves as a pedestal to power; it is democratic yet debased, it is generous but empty.

The artwork of Paul Ramírez Jonas (b. 1965, Honduras) has been the subject of exhibitions at The Jack S. Blanton Museum of Art, Austin, TX; The Aldrich Contemporary Art Museum, Ridgefield, CT; and Pinacoteca do Estado, São Paolo, among others. Additionally, his works have been featured in notable group exhibitions including the 53rd Venice Biennale, the Johannesburg Biennale, the Seoul Biennial, the Shanghai Biennial, the 28a Bienal de São Paulo, and Convergence Center at The Park Avenue Armory. He is the recipient of a number of awards including the ArtMatters Grant; National Endowment for the Arts, Inter Arts exhibition grant; Howard Foundation Fellowship; and the Joan Mitchell Foundation Grant, among others. Ramírez Jonas' work resides in numerous public collections internationally.

Koenig & Clinton
459 West 19th Street
New York, NY 10011
T: 1 212 334 9255
E: [email protected]

Tuesday–Saturday, 11AM–6PM
and by appointment

Koenig & Clinton

Galerie Loevenbruck, Paris

Alina Szapocznikow Vue de l'exposition, « Oeuvres lumineuses / Luminous Works » galerie Loevenbruck, Paris Courtesy The Estate of Alina Szapocznikow / Piotr Stanislawski / Galerie Loevenbruck, Paris © ADAGP, Paris. Photo Fabrice Gousset

ALINA SZAPOCZNIKOW
OEUVRES LUMINEUSES / LUMINOUS WORKS

22 October - 7 December 2013

ALINA, PLEASE SHOW US THAT SEX WE'D RATHER NOT SEE!

The basic principle, the Tartuffe principle, we can call it (Molière's Tartuffe, but not only), endures through the ages and across cultures (Femens in every land, the job has still to be done!): "Cover that breast I cannot bear to see!" Sex, as we know, has a bad reputation. When explicit it is terrible, dirty or nasty! So leave it to the pornographer and his vile deeds! When more suggestive, half-hearted (or through pursed lips, so to speak), it fares better with the upholders of good taste, but then of course it butters no parsnips. Not that artists have refrained from representing it, and sometimes in the most brutal fashion (from Courbet to Nauman, via Picasso, Man Ray, Molinier, Louise Bourgeois or Lebel), with or without "delectation" for the beholder, as Duchamp used to say. But clearly, like an artistic equivalent of the top shelf, it is clear that these pieces are "curiosities," minor works even when major-format. Fémininmasculin, the exhibition conceived for the Pompidou Centre fifteen years ago by Marie-Laure Bernadac and Bernard Marcadé, showed, however, that sex was neither secondary nor scabrous, but intimately bound up (excuse the expression!) with the process of art itself. That in fact it expressed more than it revealed through forms whose representation in itself is pretty much an open and shut case: that it cast light on creation from within, we might say. At the time, I regretted and was above all astonished that Alina Szapocznikow did not feature in what was and remains a milestone in the French approach to "gender." I was particularly aware of her resin sculptures combining an erect male sex, a breast and mouth, producing a sensation close to what (borrowing from Freud) Mike Kelley called The Uncanny. Elsewhere – excuse me if I quote myself — I wrote that these sculptures "take on a perverse, erotic and venomous beauty — a Fleurs du Mal side – in an aesthetic vein imbued with a very fin-de-siècle hallucinatory quality [...] but revisited by a deceptively fresh Pop culture. For example, the illuminated mouths may tend towards a flourishing decorative beauty in stunningly beautiful barley-sugar colours, but they are no less infused with anxious, caustic humour, a bit like the carnivorous plant in Roger Corman's Little Shop of Horrors, which is fed with bits of human bodies (a hand, a foot). Szapocznikow exploits the ambiguity of intimacy, of desire and disgust, of formlessness and the elusiveness of life. The tart tones, gelatinous transparency or opacity of polystyrene, polyurethane or wax materialise a transorganic fluidity which, like the sleep of reason, brings forth seductive monsters in the form of agglutinated breasts, eternally smiling mouths, plump bellies."[1] At the time I omitted – simply because I didn't think to do so – to point out that these sculptures "lit up": literally, and in the expected way (most are entitled Mouth or Buttock Lamps or Sculpture-Lamp) but also, more subtly, because they cast a sharp light on the obscurantism that still doggedly dominates our world. Alina, please show us again that sex we'd rather not see!

- Arnaud Labelle-Rojoux

1.] Arnaud Labelle-Rojoux, "Alina Forever" in Twist Tropiques, Paris: Editions Loevenbruck and Yellow Now/Côté Arts, 2012.

Galerie Loevenbruck
6, rue Jacques Callot
F - 75006 Paris
France
T: +33 (0) 1 53 10 85 68

Galerie Loevenbruck, Paris

ROCKELMANN &, Berlin

Details of "Traveling Landscape" by Kathleen Vance, 2013 Details of "Parish" by Marnie Bettridge, 2013 Courtesy of the artists and ROCKELMANN &, Berlin

ABANDON ISOLATION
Marnie Bettridge and Kathleen Vance

October 25 - December 20, 2013
Opening: October 24, 2013 - 6-9pm

An international exhibition featuring new installations by Marnie Bettridge and Kathleen Vance.

As people continue to build and create artificial environments around them, they find themselves cut off from nature. The natural world becomes, in a sense, a luxury -- a weekend to the country side, a rooftop garden, a day in the park. Other things have come to occupy the individual's time and he or she no longer interacts as they once did with their natural surroundings; we've become desensitized and ignorant towards nature.

ROCKELMANN& is looking forward to re-exposing the viewer to the intricacies and beauty of nature. The show "Abandon Isolation" will feature two land artists, Marnie Bettridge and Kathleen Vance. Both express a lonely connection to nature and feelings of loss and wonder. In their site specific installations they seek to recreate and call attention to the beauty in the detail, an invitation to take back a discarded world.

Marnie Bettridge is an American Artist working and living in the Gulf Coast of Florida. She finds inspiration in objects and materials that catch her eye, loosely incorporating them into her work. As the piece she works on begins to take form she experiences a certain apprehension of failure and becomes more demanding of the components. Having studied architecture her work upholds a solid form, yet there remains a certain fragility brought on by these anxieties. Also relevant in her work is the notion of beauty. Instead of looking for beauty, we see the imperfect - criticism and judgment often come first and foremost. Bettridge chooses to work with materials found and or created from the earth. She likes to encourage "circumnavigation, strange postures, and a certain feeling of getting away with something". Bettridge reminds us that value shifts with time, we mourn the forgotten, and need to find a peace with the fact that we will all become immaterial.

Also an American living and working in New York, Kathleen Vance grew up on a rural farm in Maryland which inspired a special connection to nature. Vance has travelled to numerous nature preserves in the United States developing an appreciation for the environment and finding that "In reducing the scale, the entirety...can be taken in all at once, enhancing an appreciation, while relating the fragility and the tenuous conditions…" The site-specific installation "Rogue Stream," is a continuation of a series addressing "issues of water rights, conservation and the elemental need to protect our natural resources. This piece explores the concept of a 'rogue stream' one that has jumped its bank and chosen a new path." Also accompanying the stream is a detailed drawing hinting at the warped perception of ownership of property, extending to water rights.

The show challenges you to abandon your isolation and reconnect with the environment on a unique conceptual level. Both artists will be present to further enrich the theme and presentation.

ROCKELMANN &
Schönleinstraße 5
10967 Berlin
Germany
T: +49 30 86 38 41 34
E: [email protected]

Tue. - Sat. 11am - 6pm
and by appointment

ROCKELMANN &

Galerie Michel Rein Brussels

Jimmie Durham Yellow Higgs Transmitting Apparatus , 2013 tuyau PVC, métal, bois, peinture acrylique, colle 87 x 94 x 29 cm courtesy of the artist and Galerie Michel Rein Paris/Brussels

JIMMIE DURHAM
Works of Science and Yellowness

10 October–7 December 2013

Galerie Michel Rein is inaugurating its Brussels space with an exhibition of Jimmie Durham, who we have been accompanying for more than ten years.

The choice of Brussels for the opening of a second space was motivated by longstanding friendships, close relationships with collectors, museum directors and artists but is also linked to the development over the past years of the Belgian art scene and more particularly that of Brussels's. The gallery will have the pleasure to initially present its European and American artists and to offer the opportunity for Belgian artists to use its space.

The sculptures and drawings that Jimmie Durham offers us provoke in us a desire for dialogue(s). Dialogues with banal objects, which are common or even neglected but unconsciously carry a story and/or a political reality close to that of the artist, unperceived at the first glance.
In fact, the works of Jimmie Durham are indefinable, cannot be categorised and carry on a conversation about their identity, their story, their "life." The artist invites the objects he has found, for example, on long walks with his family and to his studio, plays with them before sending them back into the world in a new way.

Jimmie Durham tells us, "I would like to make art each individual thing there is, there would not be a time when you had to decide to keep it or throw it away. It seems to me one can do that sort of non-dictatorial thing by making things which don't have to do with craftwork at all just intellectually join our normal physical world."

The past life of these objects remains firmly present while the artist suggests a new vision to us by their assembly, their "repainting" and their interrelation. In this way, the sculpture Yellow Higgs Transmitting Apparatus (2013), is made up of a piece of piping found in the street in Brussels in 1994, assembled, and placed on a wooden construction.
Hertz Receiving Apparatus (2013) is made up of a television satellite receiver repainted with "Chameleon" car paint. A piece of wood added and acting as a emitter/receiver fades little by little to let a wooden mast of human proportions appear, extending the invitation to the spectator to maintain a dialogue about post-industrial artifices.
A selection of drawings, some of which have been exhibited at the monographic retrospective exhibition of the artist at the MuHKA in Antwerp in 2012 (curated by Bart de Baere), complete the exhibition.

Jimmie Durham has notably exhibited at the Palais des Beaux Arts in Brussels (1993) (curated by Dirk Snauwaert), Documenta IX and XIII in Kassel, Venice Biennial (1999, 2001, 2003, 2005, 2013) and Musée d'Art moderne de la Ville de Paris (2009).
His works are included in numerous public collections such as MuHKA, Antwerp; Centre Georges Pompidou, Paris; SMAK, Ghent; Ludwig Museum, Köln; Stedelijk Museum, Amsterdam; and Tate Modern, London.

A major artwork by Jimmie Durham, Labyrinth, 2007, will be acquired on the occasion of the annual dinner of the Friends of Musée d'Art Moderne de la Ville de Paris on October 22nd, 2013.

Galerie Michel Rein Brussels
51A Washington Street
B-1050 Brussels
Belgium
T: +32 (0)2 640 26 40
E: [email protected]

Opening hours: Thursday - Saturday 10am - 6pm and by appointment

Galerie Michel Rein Paris/Brussels

Language of Paint: Iain Andrews & Richard Kenton Webb

Atkinson Gallery, Millfield, UK
4 November – 7 December 2013
Private View: Friday 8 November, 7-9pm.

Iain Andrews The Flibbertigibbet, 2012 acrylic on canvas 51 x 65 cm Courtesy of the artist and Man&Eve, London

Language of Paint at the Atkinson Gallery invites you to take an epic exploration into the world of colour. We bring together two artists, Iain Andrews and Richard Kenton Webb, whose practices are steeped in colour and rooted in the romantic and metaphysical traditions.

Shortlisted for the 2010 Jerwood Fellowship, winner of the Marmite Prize for Painting in 2011 and nominated for the Northern Art Prize in 2012, Iain Andrews blurs the boundaries between abstraction and figuration, creating a vital, living dialogue with the viewer.

'My painting begins, both with a particular folk tale and also an image from art history - a painting that may then be used as a starting point from which to playfully but reverently deviate.'

Sensuous yet contemplative, Andrews' paintings have a depth and painterliness, yet they evoke lightness of spirit. Described by Graham Crowley as, 'a genuinely 'fresh' voice, an intelligent man who as a painter seems to tread a singular path,' Iain Andrews is based in Manchester, UK.

Iain Andrews The Patterns of Faerie Tales (detail) pen and wash on card variable dimensions Courtesy of the artist and Man&Eve, London

Richard Kenton Webb The Beautiful Architecture, 2013 38 x 51 cm Courtesy of the artist and Celia Lendis Contemporary

Atkinson Gallery
Millfield School
Street
Somerset BA16 0YD
T: +44 (0)1458 444322
E: [email protected]
Monday - Saturday 9.30am to 5pm
Closed Sunday
www.atkinsongallery.co.uk

Iain Andrews Ashputtle's Sister III, 2012 acrylic on canvas 25 x 35 cm Courtesy of the artist and Man&Eve, London

Richard Kenton Webb's work moves across many different mediums, from drawing and painting to printmaking and sculpture. For him, colour works as both language and form, and like a piece of music it can produce an emotional response and speak to the viewer in a fundamental, intuitive way.

Webb describes his work, which takes inspiration from the great English landscape painters and the Cotswold landscape in which he lives as 'a visual poem, a dialogue between the artist and his medium which explores the meaning behind colour and translates it to the viewer, opening a world of possibilities.'

Using pure and often rare pigments from all over the world Webb's work is represented in larger paintings and multi-coloured linocuts, each exact in intensity and detail.

Richard Kenton Webb Earth Orange-Red – The song of the dentist's son, 2011 Oil on canvas 200 x 200 cm Courtesy of the artist and Celia Lendis Contemporary

Richard Kenton Webb Iceland no 3 2013 30 x 21cm Courtesy of the artist and Celia Lendis Contemporary

Exhibition I

Exhibition III

Exhibition II

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DIOGEN pro culture magazine presents you / DIOGEN pro kultura magazin vam predstavlja Exhibitions worldwide / Izložbe širom svijeta 2013.

22.12.2013.

13.12.2013.Photography, Film & VideoDiane Rosenstein Fine Art, Los AngelesYvon Lambert, ParisYancey Richardson, New YorkArt : Concept, Paris

Announcement for 1.1.2014.

05.12.2013.Izložba autora DIOGEN pro art magazina...Exhibion of the author of DIOGEN pro art magazineStane Jagodich, Slovenia Odvodi fotografije (1969-1980)Otvoritev: torek, 10. december ob 19. uriPhoton – Center za sodobno fotografijoTrg prekomorskih brigad 1, Ljubljana

04.12.2013.Painting & DrawingGalerie Stefan Röpke, CologneGerhardsen Gerner, OsloCristina Guerra Contemporary Art, Lisbon

1.12.2013.GALERIE BERNARD BOUCHE presents PETER JOSEPHGalerie Bernard Bouche, ParisNovember 9 - December 20, 2013

30.11.2013.Sculpture / InstallationGalería Fúcares Madridi8 Gallery, ReykjavikGalerija Gregor Podnar, BerlinGalerie Urs Meile, Beijing

23.11.2013.Painting & DrawingDavid Kordansky Gallery, Los AngelesFreight + Volume, New YorkChambers Fine Art, New YorkGalerie Barbara Thumm, Berlin

14.11.2013.PHOTOGRAPHY Londonewcastle Project Space, LondonJerwood Space, LondonLoock Galerie, BerlinTaka Ishii Gallery Photography/Film, Tokyo

4.11.2013.CRAJESIngemisco tamquam reus, culpa rubet vultus meus; supplicanti parce, Deus. N2 Galería, Barcelona, Spain7 November - 16 December 2013Opening: 7 November 2013, 7 pm

3.11.2013.Tito A Yugoslavian Icon / Exhibition - 7.11.2013 - 28.2.2014Tito Obraz Jugoslavije / Razstava | 7.11.2013 - 28.2.2014Gospodarsko razstavišče v Ljubljano Slovenia